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of Affiliated | Official Hospital the Boston Red S with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 125th Season, 2005-2006

Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice- Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Eric D. Collins Shari Loessberg, Edward I. Rudman George D. Behrakis Cynthia Curme ex-officio Hannah H. Schneider

Gabriella Beranek William R. Elfers Robert J. Mayer, M.D. Arthur I. Segel

Mark G. Borden Nancy J. Fitzpatrick Nathan R. Miller Thomas G. Sternberg Jan Brett Charles K. Gifford Richard P. Morse Stephen R. Weber Samuel B. Bruskin Thelma E. Goldberg Ann M. Philbin, Stephen R. Weiner Paul Buttenwieser George Krupp ex-officio Robert C. Winters

James F. Cleary

Life Trustees

Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzmanf Ray Stata

Leo L. Beranek Nelson J. Darling, Jr. R. Willis Leith, Jr. John Hoyt Stookey Deborah Davis Berman Nina L. Doggett Mrs. August R. Meyer John L. Thorndike Jane C. Bradley Mrs. John H. Fitzpatrick Mrs. Robert B. Newman Dr. Nicholas T. Zervas

Peter A. Brooke Dean W. Freed William J. Poorvu

Helene R. Cahners Avram J. Goldberg Irving W Rabb Other Officers of the Corporation Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chair

William F. Achtmeyer John P. Eustis II Renee Landers John Reed

Joel B. Alvord Pamela D. Everhart Robert J. Lepofsky Carol Reich

Marjorie Arons-Barron Judith Moss Feingold Christopher J. Lindop Donna M. Riccardi Diane M. Austin Steven S. Fischman John M. Loder Susan Rothenberg Lucille M. Batal John F. Fish Edwin N. London Alan Rottenberg Maureen Scannell Lawrence K. Fish Jay Marks Joseph D. Roxe Bateman Myrna H. Freedman Jeffrey E. Marshall Kenan Sahin George W Berry Carol Fulp Carmine Martignetti Ross E. Sherbrooke James L. Bildner Dr. Arthur Gelb Joseph B. Martin, M.D. Gilda Slifka Bradley Bloom Stephanie Gertz Thomas McCann Christopher Smallhorn Alan Bressler Robert P. Gittens Joseph C. McNay Charles A. Stakely Michelle Courton Paula Groves Albert Merck Jacquelynne M. Stepanian

Brown Michael Halperson Dr. Martin C. Mihm, Jr. Patricia L. Tambone Gregory E. Bulger Virginia S. Harris Robert Mnookin Wilmer Thomas William Burgin Carol Henderson Paul M. Montrone Samuel Thorne

Rena F. Clark Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Carol Feinberg Cohen William W Hunt Robert T. O'Connell Joseph M. Tucci Mrs. James C. Collias Ernest Jacquet Norio Ohga Paul M. Verrochi Charles L. Cooney Everett L. Jassy Joseph Patton Matthew Walker

Ranny Cooper Charles H. Jenkins, Jr. Ann M. Philbin Larry Weber James C. Curvey Paul L. Joskow May H. Pierce Robert S. Weil Tamara P. Davis Stephen R. Karp Claudio Pincus David C. Weinstein Mrs. Miguel de Stephen Kay Joyce L. Plotkin James Westra Braganca Brian Keane Dr. John Thomas Mrs. Joan D. Wheeler Disque Deane Cleve L. Killingsworth Potts, Jr. Richard Wurtman, M.D. Paul F. Deninger Douglas A. Kingsley Dr. Tina Young Poussaint Dr. Michael Zinner Alan Dynner Robert Kleinberg James D. Price D. Brooks Zug

Ursula Ehret-Dichter Peter E. Lacaillade Patrick J. Purcell Overseers Emeriti

Helaine B. Allen Mrs. Thomas Mrs. Gordon F. Kingsley John Ex Rodgers Caroline Dwight Bain Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Sandra Bakalar Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Mrs. Levin H. Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles Mrs. Haskell R. Gordon f Hart D. Leavitt L. Scott Singleton Joan P. Curhan John Hamill Frederick H. Mrs. Micho Spring

Phyllis Curtin Deborah M. Hauser Lovejoy, Jr. Mrs. Arthur I. Strang Betsy P. Demirjian Mrs. Richard D. Hill Diane H. Lupean Robert A. Wells JoAnne Walton Dickinson Marilyn Brachman Mrs. Charles P. Lyman Mrs. Thomas H.P Phyllis Dohanian Hoffman Mrs. Harry L. Marks Whitney Goetz B. Eaton Lola Jaffe Barbara Maze Margaret Williams- Harriett Eckstein Michael Joyce John A. Perkins DeCelles George Elvin Martin S. Kaplan Daphne Brooks Prout Mrs. Donald B. Wilson

J. Richard Fennell Mrs. S. Charles Kasdon Robert E. Remis Mrs. John J. Wilson Peter H.B. Richard L. Kaye Mrs. Peter van S. Rice Frelinghuysen tDeceased

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Olga Eldek Turcotte, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Linda M. Sperandio, Executive William A. Along, Treasurer Vice-President/Fundraising Judy Barr, Nominating Chair

Audley H. Fuller, Membership Lillian Katz, Hall Services Rosemary Noren, Symphony Shop Pattie Geier, Education and Lisa A. Mafrici, Public Relations Staffing Outreach Joseph Russo, Special Projects

Table of Contents

BSO News 5 On Display in Symphony Hall 6 Announcing the BSO's 2006-2007 Subscription Season 8 BSO Music Director James Levine 10 The Boston Symphony Orchestra 12 This Week's Boston Symphony Orchestra Program 15 Notes on the Program 17 Featured Artists 45 2005-2006 Season Summary 57 Symphony Hall Exit Plan 94 Symphony Hall Information 95

This week's Pre-Concert Talks are given by Robert Kirzinger, BSO Publications Associate.

Program copyright ©2006 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Lutch/Orchestra image (inset) a collage of the BSO in 1882 under Georg Henschel Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity- Tony Beadle, Manager, Boston Pops Thomas D. May, Chief Financial Officer Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales and Marketing Ellen Highstein, Director of Tanglewood Music Center Caroline Taylor, Senior Advisor to the Position endowed in honor of Edward H. Linde Managing Director by Alan S. Bressler and Edward I. Rudman Ray F. Wellbaum, Orchestra Manager Bernadette M. Horgan, Director of Media Relations ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Assistant to the Orchestra Manager BOSTON POPS Dennis Alves, Director of Artistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller

Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, StaffAccountant • Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Teresa Wang, StaffAccountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT Nancy Baker, Director of Major and Planned Giving Sally Dale, Director of Stewardship Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director ofDevelopment Special Events Jo Frances Kaplan, Director of Institutional Giving Bart Reidy, Director of Development Communications/Interim Director of Annual Funds Mia Schultz, Director of Development Administration

Stephanie Baker, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director of Development • Martha Bednarz, Corporate Programs Manager • Claire Carr, Corporate Programs Coordinator • Diane Cataudella, Associate Director of Stewardship • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Amy Hsu, Manager of Friends Membership • Justin Kelly, Associate Manager of Development Operations • Brian Kern, Senior Major Gifts Officer • Nicole Leonard, Assistant Manager of Planned Giving • Ryan Losey, Manager of Foundation Support • Pamela McCarthy, Manager of Prospect Research • Susan Olson, Stewardship Coordinator • Cristina Perdoni, Assistant Manager of Gift Processing and Donor Records • Jennifer Raymond, Associate Director, Friends Membership • Katie Schlosser, Coordinator ofAnnual Fund Projects • Yong-Hee Silver, Manager ofBSO and Pops Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and Community Programs • Shana Golden, Coordinator of Research and Curriculum Development • Darlene White, Manager, Berkshire Education and Community Programs • Leah Wilson-Velasco, Coordinator, Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services

Tony Bennett, Cafe' Supervisor • Lesley Ann Cefalo, Special Events Manager • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES Robert L. Barnes, Director of Facilities Symphony Hall Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Susan Johnson, Facilities Coordinator • Michael McDonnell, Supervisory Facility Engineer • Tyrone Tyrell, Facilities Services Lead • Shawn Wilder, Mailroom Clerk

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Matthew Connolly • Cleveland Olivera Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gaho Boniface Wahi

Tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator • Brian Van Sickle, User Support Administrator

PUBLIC RELATIONS

Joseph Heitz, Media Relations Associate • Kelly Davis Isenor, Media Relations Associate • Sean J. Kerrigan, Associate Director of Media Relations • Stephani Ritenour, Media Relations Coordinator PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Duane Beller, SymphonyCharge Representative • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Assistant Manager, Symphony Shop • Peter Grimm, Tanglewood Special Projects Manager • Melinda Hallisey, Manager of New Business Development, Corporate Sponsorships • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Aaron Kakos, Subscription Representative • Elizabeth Levesque. Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, Web Content Editor • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Sponsor Relations Coordinator • Doreen Reis, Marketing Coordinator for Advertising • Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Michael Nock, Manager of Student Services Kristen Reinhardt, Administrator • Gary Wallen, Scheduler

VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Sabine Chouljian, Project Coordinator

m BSO of the BSO staff from 1992 to 1995. As a The Walter Piston Society Concert BSO volunteer, she has served on the Annual Friday, May 5, 2006 Giving Committee, chaired the Annual Fund's The Walter Piston Society honors those who Higginson Society dinner, hosted Higginson have made life-income gifts and/or bequests Society events, and, with other key volunteers, to the Boston Symphony Orchestra, Tangle- organized the Leadership Mentoring Initiative, wood, or the Boston Pops. Walter Piston collaborating with the Boston Symphony Asso- (1894-1976), who endowed the Principal ciation of Volunteers to involve people in the Flute Chair with a bequest, was a Pulitzer BSO's artistic, educational, and community Prize-winning composer and noted musician. outreach programs. Deborah is a graduate of After studying under Georges Longy, he grad- New England Conservatory of Music, where uated from Harvard and became chair of she studied voice; she now serves on the Harvard's School of Music. Mr. Piston played Conservatory's Board of Trustees. piano, violin, flute, saxophone, viola, and Bill and Deborah continue to support the percussion. He also wrote texts on music the- BSO generously in many ways. They are mem- ory. His noted students included Leonard bers of the Higginson Society of the BSO

Bernstein. Late in life, the French government Annual Fund, have endowed several seats in bestowed the Officier de FOrdre des Arts et the first balcony of Symphony Hall, and have des Lettres on Mr. Piston. attended Opening Night at Symphony and The Boston Symphony Orchestra wishes Opening Night at Pops as Benefactors for the to thank and recognize the members of the past several years. Said Bill of their support Walter Piston Society, who have made life- for BSO: "I've greatly enjoyed combining a income gifts and/or named the BSO in their lifelong love of music with the privilege of estate plans, and has named this Friday's supporting and providing volunteer service. to concert in their honor. The support provided the Boston Symphony as the world's greatest by these gifts helps to preserve this great orchestra organization." orchestra for future generations. UBS Renews Exclusive The Deborah and William R. Elfers BSO Season Sponsorship Concert, Saturday, May 6, 2006 Building on the mutually successful partner- This Saturday night's concert is supported by ship that began in 2003, UBS will continue a generous gift from BSO Trustee Bill Elfers as the exclusive BSO season sponsor with a and his wife Deborah Bennett Elfers. The new multi-year sponsorship beginning next Boston Symphony Orchestra gratefully acknow- season. "We're proud and excited to continue ledges Bill and Deborah for their continuing our partnership with this world-class organi- and devoted support. zation," said Mark B. Sutton, Chairman and Bill and Deborah Elfers are longtime sub- CEO, Americas, UBS. "The BSO symbolizes scribers and supporters of the BSO and have excellence in orchestral music, particularly in

attended the Friday-evening concerts togeth- how it brings the art of collaboration to life. er for nearly eleven years. Bill was appointed At UBS we are committed to the same high a Trustee of the BSO in 2002 and served as standards of collaboration, working with our a BSO Overseer from 1996 until that time. clients to bring them the best products and During his tenure with the Symphony, he has services possible." This season UBS hosted served as a member of the Budget, Develop- the second annual "UBS Thanksgiving Con- ment, and Investment committees and, with cert" with a private BSO concert at Symphony Deborah, is an enthusiastic promoter of the Hall on Friday, November 18. More than 2,000 BSO's Youth Concerts Series in Symphony UBS-invited guests enjoyed the BSO's per- Hall. formance of Mozart's Hqffner Symphony, Perle's Deborah's efforts on the BSO's behalf Transcendental Modulations, and Debussy's include directing the Business Leadership La Mer conducted by James Levine. In addi- Association's fundraising efforts as a member tion, UBS hosted a pre-concert reception for BSO Trustees and Overseers in the Cohen Fairmont Renews as the Official Hotel Wing. On March 6, UBS sponsored this sea- of the BSO and Boston Pops son's final concert of the BSO's series at Opening Night at Symphony 2005 marked the Carnegie Hall. BSO patrons were guests of multi-year renewal of The Fairmont Copley Jamie Price, member of UBS's Group Manage- Plaza and Fairmont Hotel & Resorts' status ment Board and BSO Overseer. Mr. Price also as the Official Hotel of the Boston Symphony hosted a pre-concert reception for UBS and and Boston Pops. "The Fairmont Copley BSO concert guests on the executive floor of Plaza and Fairmont Hotels & Resorts are the UBS Building in Manhattan, where works delighted to renew our partnership as the from the world-renowned UBS Art Collection Official Hotel of the BSO and Boston Pops," were on display for all to enjoy. said Jon Crellin, general manager of The Fairmont Copley Plaza and Company Christ- Pre-Concert Talks mas and Presidents at Pops committee mem- Pre-Concert Talks available free of charge to ber. "From a venerable history to an exciting BSO ticket holders precede all Boston Sym- future, Fairmont and the BSO have tremen- phony concerts and Open Rehearsals, starting dous synergy and it is an exciting time for at 6:45 p.m. prior to evening concerts, 12:15 both organizations. We are proud to support p.m. prior to Friday-afternoon concerts, and the BSO as it continues to grow as a leader one hour before the start of morning and even- and innovator in the world of classical music. ing Open Rehearsals. Given by a variety of At the same time, Fairmont Hotels & Resorts distinguished speakers from Boston's musical continues to grow as a leader in the hospital- community, these informative half-hour talks ity industry worldwide. As a global company include recorded examples from the music we are proud to renew our partnership with being performed. This week, to conclude the one of the world's premier performing arts season, BSO Publications Associate Robert institutions." In addition to providing deluxe Kirzinger discusses Mozart and Stravinsky. accommodations for BSO and Pops guest

On Display in Symphony Hall This season's BSO Archives exhibit marks the 125th anniversary of the Boston Symphony Orchestra. In addition to the many important photographs, letters, and scores from the BSO Archives that fill the exhibit cases throughout Symphony Hall to document the BSO's founding in 1881 and its 125-year history, the BSO has received on loan from the Library of Congress's Music Division the origi- nal manuscript scores for two pieces closely associated with the BSO—Bela Bartok's Concerto for Orchestra, com- missioned by the Koussevitzky Music Foundation and given its world premiere by Serge Koussevitzky and the BSO on December 1, 1944; and Henri Dutilleux's Symphony No. 2, commissioned jointly by the BSO and the Koussevitzky Music Foundation and given its world premiere by the BSO under Charles Munch on December 11, 1959. Also among the impor- tant artifacts on display throughout the season are the original manuscript of Igor Stravinsky's Symphony of Psalms (a BSO 50th-anniversary commission) and the score of Beethoven's Missa Solemnis, just recently returned to the BSO, that was used for Symphony Hall's inaugural concert on October 15, 1900. Shown here is a plaster relief of a Bacchic procession mounted originally in Symphony Hall in the early 1900s, then taken down in the early 1980s and left to languish in Symphony Hall's basement for more than twenty years. The restoration of the plaster relief by Carol Snow and Nina Vinogradskaya and its reinstallation by Mystic Scenic Studios were made possible through a gift from Deborah M. Hauser. artists and conductors throughout the season, Tuckermann Hall, 10 Tuckermann Street, in Fairmont also remains a BSO Business and Worcester. Tickets are $5 for adults; no charge Professional Friends Principal Player and for students and children. To purchase or Platinum Sponsor of both "A Company Christ- reserve tickets, call (866) 393-2927. mas at Pops" and "Presidents at Pops," with On Sunday, May 21, at the Sterling & Mr. Crellin serving on the committees of both Francine Clark Art Institute, 225 South fundraising events again this season. Street, Williamstown, MA, the Walden Cham- ber Players perform Virgil Thomson's Seren- ade for flute and violin, Harald Genzmer's Commonwealth Worldwide Renews as Trio for flute, viola, and harp, Augusta Read Official Chauffeured Transportation Thomas's Pulsar and Caprice for violin solo, Through the 2008-09 Season Sofia Gubaidulina's Garten von Freuden und The BSO and Commonwealth Worldwide Traurigkeiten for flute, viola, harp, and speak- Chauffeured Transportation recently finalized er, and Erich Zeisl's Arrowhead Suite for flute, a new, expanded multi-year agreement, ex- viola, and harp. Tickets are $15 for adults, tending Commonwealth Worldwide's status $10 for members of the Clark Art Institute; as the Official Chauffeured Transportation of no charge for students and children. To pur- the BSO and Boston Pops through the 2008- chase or reserve tickets, call (866) 393-2927. 09 season. "Commonwealth Worldwide is very Founded by BSO violist Mark Ludwig, proud to be continuing our sponsorship rela- MusicWorks concludes its 2005-06 season tionship with the Boston Symphony Orchestra with a gala benefit concert and silent auction through 2009," said Dawson Rutter, Common- on Sunday, May 28, at the Lenox Club, 111 wealth's President and CEO. "It has been an Yokum Ave., Lenox, MA. The concert, enti- honor to be recognized as the BSO's 'Official tled "It's a Family Affair," features Michael Chauffeured Transportation' and to work with Ludwig, violin, Mark Ludwig, viola, and Jules such an outstanding group of people. We are Eskin, BSO principal cello, performing works thrilled to be part of the BSO's continued of Mozart, Beethoven, and Ysaye. Tickets are growth, and look forward to the next three $25, discounted for seniors, and free for those seasons." Since 2003 Commonwealth has 18 and under. For more information, call provided ground transportation to hundreds 866-266-2746 or visit www.musicworksberk- of guest artists and conductors who have shires.org. appeared with the BSO and Boston Pops at Symphony Hall, as well as providing chauf- Comings and Goings... feured transportation from Boston and New Please note that latecomers will be seated York to Tanglewood. The extended BSO by the patron service staff during the first partnership, which commences next season, convenient pause in the program. In addition, expands on this service, and also names please also note that patrons who leave the Commonwealth the sponsor of one of the hall during the performance will not be allowed BSO subscription series concerts at Carnegie to reenter until the next convenient pause in Hall each year. the program, so as not to disturb the performers or other audience members while the concert BSO Members in Concert is in progress. We thank you for your cooper- ation in these matters. The Walden Chamber Players—including BSO musicians Tatiana Dimitriades and With Thanks Alexander Velinzon, violins, Lawrence Wolfe, bass, Thomas Martin, clarinet, Richard Ranti, BSO subscription concerts are supported bassoon, and Richard Sebring, horn—per- in part by a grant from the Boston Cultural form Mozart's string quintets in B-flat, K.174, Council, which is funded by the Massachu- and G minor, K.516, and the east coast pre- setts Cultural Council and administered by miere of Alex Shapiro's Current Events for the Mayor's Office of Arts, Tourism, and string quintet on Sunday, May 7, at 3 p.m. at Special Events.

06 £BS Announcing the Boston Symphony Orchestra's 2006-2007 Subscription Season, James Levine's Third as BSO Music Director

James Levine will open his third season as BSO Music Director on Friday, September 29, with a special American-themed program featuring soprano Renee Fleming in Barber's Knoxville: Summer of 1915 and flutist James Galway in William Bolcom's Lyric Concerto for flute and orchestra, part of a concert also to include Copland's Lincoln Portrait and Dvorak's New World Symphony. Subscription-season highlights under Maestro Levine's direction will also include Bartok's Bluebeard's Castle (with Anne Sofie von Otter and Albert Dohmen), Berlioz's La Damnation de Faust (with Yvonne Naef, Paul Groves, and Jose van Dam), and the world premieres of BSO 125th Anniversary Commissions from esteemed Amer- ican composers Gunther Schuller and Charles Wuorinen (the latter's Eighth Symphony, Theo- logoumena). In addition, 2006-2007 promises an exciting conclusion to the BSO's groundbreaking Renee Fleming two-season Beethoven/Schoenberg cycle, with Mr. Levine leading—among other things—concert performances of each composer's only full-scale opera, Beethoven's Daniel Barenboim Fidelio (with Karita Mattila and Johan Botha in the lead roles) and Schoenberg's Moses und Aron (with John Tomlinson and Philip Langridge in the title — ^— roles); Beethoven's concert aria Ah!perfido and Schoenberg's mono- drama Erwartung with soprano Deborah Voigt; the Beethoven and Schoenberg violin concertos with soloist Christian Tetzlaff; and Beethoven's Piano Concerto No. 4 and Schoenberg's Piano Concerto with soloist Daniel Barenboim. Also among the guest artists joining James Levine and the Boston Symphony for the 2006-2007 season are Peter Serkin (in

Jose van Dam Brahms's Piano Concerto No. 2), Stephanie Blythe (Mahler's Symphony No. 3), and Alfred

Brendel (Mozart's Piano Concerto No. 17 in G, K.453). Karita Mattila

Additional season highlights will include favorite symphonies of Dvorak, Schumann, Beethoven, Mozart, Haydn, Brahms, and Mahler; piano concertos of Brahms, Rachmaninoff, Mozart, and Beethoven; such beloved works as Prokofiev's Romeo and Juliet, Ravel's Daphnis et Chloe and Mother Goose, Hoist's The Planets, and Stravinsky's Firebird Suite; the world premieres of new works by Andre Previn (his Double Concerto for violin, double bass, and orchestra, with violinist Anne-Sophie Mutter and Slovakian double bass virtuoso Roman Potalko) and Finnish composer Kaija Saariaho (the latter's new piece for cello and orchestra being another feature Imogen Cooper BSO 125th Anniversary Commission, to Finnish cellist Anssi Karttunen in his BSO debut), and performances in December of John Adams's El Nino, a work Alfred Brendel for orchestra, vocal soloists, and chorus inspired by the story of the the Nativity. 2006-2007 also brings performances of music by such celebrated contemporary composers as William Bolcom, John Harbison, and John Adams. BSO Conductor Emeritus Bernard Haitink returns to Symphony Hall for the final two programs of next season. Other guest conductors joining the Boston Symphony in 2006-2007 are former BSO principal guest conductor Sir Colin Davis, Christoph von Dohnanyi, Charles Dutoit, Rafael Friihbeck de Burgos, Ingo Metzmacher, BSO Assistant Conductor Ludovic Morlot, Robert Spano, and David Zinman. Additional guest soloists next season include Pierre-Laurent Aimard (in Bartok's Piano Concerto No. 2), Martha Argerich (Beethoven's Piano Concerto

No. 1), Emanuel Ax (Brahms's Piano Concerto

No. 1), Joshua Bell (Bruch's Violin Concerto No. 1), Yefim Bronfman (Rachmaninoff's Piano Concerto No. 4), Imogen Cooper (Mozart's Piano

Martha Argerich Concerto No. 24 in C minor, K.491), Lynn Harrell (Shostakovich's Cello Concerto No. 1), Leonidas

Kavakos (Bartok's Violin Concerto No. 2), Radu Lupu (Mozart's Joshua Bell Piano Concerto No. 20 in D minor, K.466), Pepe Romero (music for guitar and orchestra by Rodrigo and Palomo), and Sergey Khachatryan

(Shostakovich's Violin Concerto No. 1).

Subscribers will receive their renewal materials this month, by which time brochures with complete program and ticket information for the BSO's 2006-2007 season will also be available. To inquire about subscriptions for the 2006-2007 Boston Symphony Orchestra season, please call (617) 266-7575 or 1-888-266-7575, or visit the BSO's website, www.bso.org. Others may request a brochure by calling (617) 266-1492, by visiting www.bso.org, or by writing to BSO 2006-2007 Brochure, Symphony Hall, Boston, MA 02115.

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JAMES LEVINE

The 2005-06 season is James Levine's second as Music Director of the Boston Symphony Orchestra. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's founding in 1881, and the first American- •iWjn^3 born conductor to hold that position. Highlights of

1 his twelve BSO programs for 2005-06 (three of which

I also go to Carnegie Hall in New York) have included a season-opening all-French program (works by Berlioz, Debussy, Milhaud, and Saint-Saens) celebrating the | BSO's longstanding tradition of performing the French orchestral repertoire; historic works by Bartok, Debussy, Dutilleux, and Stravinsky given their world or American premieres by the BSO in the course of the past century; newly commissioned works from Elliott Carter, Jonathan Dawe, and Peter Lieberson; and five of eleven programs (to be divided between the BSO's 2005-06 and 2006-07 seasons) juxtaposing works by Beethoven and Schoenberg. Also in 2005-06, Mr. Levine appeared as both pianist and conductor in a Beethoven/Schoenberg program (featuring soprano Anja Silja and tenor Matthew Polenzani) with the Boston Symphony Chamber Players. Last summer at Tanglewood, Mr. Levine led concerts with the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and worked with the TMC's Conducting and Vocal Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Highlights of his 2006 Tanglewood season will include Beethoven's Ninth Symphony, Schoenberg's Gurrelieder, concert performances of Mozart's Don Giovanni (part of a BSO all- Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra), and the American stage premiere (also with TMC forces) of Elliott Carter's opera What Next? Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Harbison, Ligeti, Sessions, and Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty- four years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. His 2005-06 Met season has included a special Opening Night Gala, revivals of Cosifan tutte, Falstaff, and Wozzeck, and concerts at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble (including a New York premiere in October by Elliott Carter). Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house— former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festi- vals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philharmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the

10 Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendels- sohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following performances of the composer's Md Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds numerous honorary doctorates and other international awards. In recent years Mr. Levine has received the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Human- ity from the National Institute of Social Sciences; the Lotus Award ("for inspira- tion to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors, and the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters.

11 *Jennie Shamest Michael Zaretsky Theodore W. and Evelyn Marc Jeanneret Berenson Family chair *Mark Ludwig * Valeria Vilker Kuchment * Stephanie Morris Marryott and Rachel Fagerburg Franklin J. Marryott chair *Kazuko Matsusaka *Tatiana Dimitriades *Rebecca Gitter Catherine and Paul Buttenwieser * Marvin Moon chair *Si-Jing Huang Cellos BOSTON SYMPHONY Mary B. Saltonstall chair, Jules Eskin fullyfunded in perpetuity ORCHESTRA Principal *Nicole Monahan 2005-2006 Philip R. Allen chair, endowed Kristin and Roger Servison chair in perpetuity in 1969 James Levine * Wendy Putnam Martha Babcock Music Director Donald C. and Ruth Brooks Assistant Principal Ray and Maria Stata Heath chair, fully funded in per- Vernon and Marion Alden chair, Music Directorship, petuity endowed in perpetuity fully funded in perpetuity *Xin Ding in 1977 Sato Knudsen Bernard Haitink Second Violins Mischa Nieland chair, Conductor Emeritus fullyfunded in perpetuity LaCroix Family Fund, Haldan Martinson Principal Mihail Jojatu fully funded in perpetuity Carl Schoenhof Family chair, Sandra and David Bakalar chair Seiji Ozawa fully funded in perpetuity Luis Leguia Director Laureate Music Vyacheslav Uritsky Robert Bradford Newman chair, Assistant Principal fullyfunded in perpetuity First Violins Charlotte and Irving W. Rabb *Jerome Patterson Malcolm Lowe chair, endowed in perpetuity Lillian and Nathan R. Miller Concertmaster in 1977 chair Charles Munch chair, Ronald Knudsen *Jonathan Miller fully funded in perpetuity Edgar and Shirley Grossman Charles and JoAnne Dickinson Tamara Smirnova chair chair Associate Concertmaster Joseph McGauley *0wen Young Helen Horner Mclntyre chair, Shirley and J. Richard Fennell John F. Cogan, Jr., and Mary L. endowed in perpetuity in 1976 chair, fully funded in perpetuity Cornille chair, fully funded in Alexander Velinzon Ronan Lefkowitz perpetuity Assistant Concertmaster David H. and Edith C. Howie * Andrew Pearce Robert L. Beal, Enid L., and chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Bruce A. Beal chair, endowed in * Nancy Bracken *Mickey Katz perpetuity in 1980 *Aza Raykhtsaum Richard C. and Ellen E. Paine Elita Kang *Bonnie Bewick chair, fullyfunded in perpetuity Assistant Concertmaster *James Cooke Edward and Bertha C. Rose Gordon and Mary Ford Kingsley * chair Victor Romanul Family chair Bo Youp Hwang Bessie Pappas chair John and Dorothy Wilson chair, *Catherine French Basses fully funded in perpetuity *Kelly Barr Edwin Barker Lucia Lin *Polina Sedukh Principal Forrest Foster Collier chair *Glen Cherry Harold D. Hodgkinson chair, Ikuko Mizuno endowed in perpetuity in 1974 Dorothy Q. and David B. Arnold, Violas Lawrence Wolfe Jr., chair, fullyfunded in Assistant Principal Steven Ansell perpetuity Maria Nistazos Stata chair, Principal Amnon Levy fullyfunded in perpetuity Charles S. Dana chair, Muriel C. Kasdon and Hearne endowed in perpetuity in 1970 Joseph Marjorie C. Paley chair Leith Family chair, Cathy Basrak *Sheila fullyfunded in perpetuity Fiekowsky Assistant Principal Ruth and Carl Shapiro chair, Dennis J. Anne Stoneman chair, Roy fully funded in perpetuity Joseph and Jan Brett Hearne fully funded in perpetuity chair Edward Gazouleas Salkowski Lois and Harlan Anderson chair, John * Participating in a system Erich and Edith Heymans chair fullyfunded in perpetuity of rotated seating * James Orleans $ On sabbatical leave Robert Barnes °0n leave Ronald Wilkison § Substitute player

12 *Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fullyfunded Principal John Moors Cabot chair, in perpetuity Edward A. Taft chair, endowed fully funded in perpetuity *John Stovall in perpetuity in 1974 * Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fullyfunded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham/ in perpetuity in 1970 Hamilton Osgood chair, Timpani Fenwick Smith fully funded in perpetuity Timothy Genis Myra and Robert Kraft chair, Sylvia Shippen Wells chair, endowed in perpetuity in 1 981 Contrabassoon endowed in perpetuity in 1974 Elizabeth Ostling Gregg Henegar Associate Principal Helen Rand Thayer chair Percussion Marian Gray Lewis chair, Frank Epstein fully funded in perpetuity Horns Peter and Anne Brooke chair, James Sommerville fully funded in perpetuity Piccolo Principal J. William Hudgins Helen Sagoff Slosberg/Edna Peter Andrew Lurie chair, Evelyn and C. Charles Marran S. Kalman chair, endowed fully funded in perpetuity chair, endowed in perpetuity in in perpetuity in 1974 1979 Richard Sebring Barbara Lee chair §Linda Toote Associate Principal Margaret Andersen Congleton Assistant Timpanist Oboes chair, fully funded in perpetuity Mr. and Mrs. Edward H. Linde John Ferrillo Daniel Katzen chair Elizabeth B. Storer chair, Principal § Richard Flanagan Mildred B. Remis chair, endowed fully funded in perpetuity in perpetuity in 1975 Jay Wadenpfuhl Harp John P. II and Nancy S. Eustis Mark McEwen Ann Hobson Pilot chair, fully funded in perpetuity James and Tina Collias chair Principal Keisuke Wakao Assistant Principal Jonathan Menkist Voice and Chorus Elaine and Rosenfeld Jerome Jean-Noel and Mona N. John Oliver chair Tariot chair Tanglewood Festival Chorus § Kevin Owen Conductor English Horn Alan J. and Suzanne W. Dworsky Robert Sheena Trumpets chair, fully funded in perpetuity Beranek chair, fully funded Charles Schlueter perpetuity in Principal Librarians Roger Louis Voisin chair, Marshall Burlingame Clarinets endowed in perpetuity in 1977 Principal William R. Hudgins Peter Chapman Lia and William Poorvu chair, Principal Ford H. Cooper chair, endowed fully funded in perpetuity Ann S.M. Banks chair, endowed in perpetuity in 1984 William Shisler in perpetuity in 1977 Thomas Rolfs John Perkel Scott Andrews Associate Principal Thomas Sternberg chair Nina L. and Eugene B. Doggett Assistant Conductors Thomas Martin chair Jens Georg Bachmann Associate Principal & Wright Benjamin Anna E. Finnerty chair, E-flat clarinet Rosemary and Donald Hudson fully funded in perpetuity Stanton W. and Elisabeth K. chair Davis chair, fully funded in Ludovic Morlot perpetuity Trombones Personnel Managers Ronald Barron Bass Clarinet Lars Principal Lynn G. en Craig Nordstrom J. P. and Mary B. Barger chair, Bruce M. Creditor Farla and Harvey Chet fully funded in perpetuity Krentzman chair, fully funded Norman Bolter Stage Manager in perpetuity Arthur and Linda Gelb chair John Demick

13 1

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14 BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 125th Season, 2005-2006

Thursday, May 4, at 8 THE NORMAN V. AND ELLEN B. BALLOU MEMORIAL CONCERT Friday, May 5, at 8 THE WALTER PISTON SOCIETY CONCERT Saturday, May 6, at 8 THE DEBORAH AND WILLIAM R. ELFERS CONCERT

CHRISTOPH VON DOHNANYI conducting

MOZART Symphony No. 41 in C, K.551, Jupiter

Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

INTERMISSION

STRAVINSKY Oedipus Rex, Opera-oratorio after Sophocles by Igor Stravinsky and Jean Cocteau, put Text and into Latin by Jean Danielou translation STUART SKELTON, tenor (Oedipus) begin on ANNA LARSSON, mezzo-soprano (Jocasta) page 34. SIR WILLARD WHITE, baritone (Creon) FRANZ-JOSEF SELIG, bass (Tiresias) PETER BRONDER, tenor (Shepherd) CLAYTON BRAINERD, bass-baritone (Messenger) PHILIP BOSCO, narrator MEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

This week's performances by the Tanglewood Festival Chorus are supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

UBS is proud to sponsor the BSO's 2005-2006 season.

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THE BOSTON David Hockney, Mr. and Mrs. Clark and Percy (detail), Print media sponsor is 1970-71. Acrylic on canvas. Tate. Presented by the Friends MILLENNIUM PHfflNIX BOSTONIAN HOTEL of the Tate Gallery 1971. © David Hockney. Photo credit: BOSTON © Tate, London 2006. MILLENNIUM HOTELS AND RESORTS Wolfgang Amade Mozart Symphony No. 41 in C, K.551, Jupiter

Joannes Chrisostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgango Amadeo about 1 770 and Wolfgang Amade in 1 777, was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. He completed his Jupiter Symphony on August 10, 1788; that summer also saw the comple- tion of his symphonies 39 and 40, all three perhaps for a series of subscription concerts that seem not to have taken place. We know nothing certain about the Jupi- ter s early performance history. The American premiere was given by Henry Schmidt with the Academy of Music

at the Boston Odeon on January 7, 1843. Wilhelm Ger-

icke gave the first Boston Symphony performances in February 1885, subsequent ones being given by Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Vladimir Golschmann, Charles Munch, Ernest An- sermet, Erich Leinsdorf, Jerzy Semkow, Jorge Mester, Bruno Maderna, Eugen Jochum, Joseph Silverstein, David Zinman, Neville Marriner, Kurt Masur, Christoph Eschenbach, Seiji Ozawa, Roger Norrington, Hans Graf, Robert Spano, James DePreist, David Robertson, James Levine (the most recent subscription performances, in February 2002), and Christof Perick (the most recent Tanglewood performance, on August 8, 2004). The symphony is scored for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

The very perfection of Mozart's last three symphonies—No. 39 in E-flat, the great G minor, and the Jupiter—is miraculous, and the more so given how quickly they were composed. No less impressive is their diversity, and the clarity with which, in three quite different directions, they define the possibilities of Mozart's art. Eric Blom puts it thus: "It is as though the same man had written Shakespeare's Twelfth Night, Racine's Phedre, and Goethe's Iphigenie within whatever period may be equivalent for the rapid execution of three plays as compared to three symphonies."

In view of how much Mozart's compositions are as a rule bound to particular occa- sions, commissions, or concerts, another wonder is that these symphonies exist at all. They were completed respectively on June 26, July 25, and August 10, 1788. By then Mozart's public career had begun to go badly. There had been a time when he could report, as he did in a letter to his father on March 3, 1784, that he had had twenty- two concerts in thirty-eight days: "I don't think that in this way I can possibly get out of practice." A few weeks later he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together.

Not many years later all this had changed. Figaro, new in 1786, was popular in Vien- na, but not more so than other operas by lesser composers, and certainly not sufficiently to buoy up Mozart's fortunes for long. Don Giovanni, first given in Vienna on May 7,

1788, failed to repeat the enormous success it had enjoyed in Prague, and the perform- ance on December 15 of that year was the last one in the capital in the composer's life- time. By then, Mozart was in catastrophic financial straits. In June 1788, he wrote the first of the agonizing letters in which he entreated his brother Mason, Michael Puchberg, for help. He mentions a series of concerts about to begin at the Casino "next week" and encloses a pair of tickets. There is no evidence in newspapers or anywhere else that these concerts ever took place: this time, perhaps, the subscribers were too few. Nor did Mozart give other concerts of his own in Vienna after that.

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Piano Honors Concert: sonata, variations, concerto performed with string quartet, short works.

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The Boston Trio, NEC Preparatory School ensemble-in- residence, performs Mozart's

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NEC Youth Chorale performs Mozart's Also performing on this program: NEC String Chamber Orchestra, NEC Youth Camerata.

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MOZART

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It seems reasonable to connect Mozart's last three symphonies with the projected Casino concerts. Little is known about their early history. Orchestra parts for them were printed by Johann Andre in Offenbach, Hesse, two years after Mozart's death, but vari- ous libraries have also yielded manuscript copies, some of which certainly date to the composer's lifetime. The G minor symphony was played in its revised version with added clarinets in April 1791, but whether Mozart ever heard the Jupiter or the E-flat we do not know.

A word, first, about the symphony's name. It is

not Mozart's, but it is old and perhaps the brain- child of Johann Peter Salomon, the German-born violinist and impresario most famous for having twice enticed Haydn to London. At any rate, in 1829, thirty-eight years after Mozart's death and fourteen after Salomon's, the English composer, organist, and publisher Vincent Novello and his wife Mary visited the Continent and spent a few summer days in Salzburg with Mozart's widow and son. The Novellos kept separate journals, and in Vincent's, on August 7, 1829, we may read the following: "Mozart's son said he considered the Finale to his father's Sinfonia in C—which Salomon christened the Jupiter—to be the highest triumph of Instrumental Composition, and I agree with him."

In terms of Eric Blom's literary comparison, the A 1 789 boxwood medallion of Mozart by Leonard Posch Jupiter is Iphigenie: noble, at once subtle and grand, "classical." The fences so recklessly torn down in the G minor Phedre are restored. The opening gestures, with their orderly contrasts and symmetries, are more formal, indeed more formulaic, than anything else in the last three symphonies. But whatever Mozart touches becomes personal utter- ance. After an impressive drawing up to a halt (that "rattling of dishes at a feast" of which Wagner was wont to complain in eighteenth-century pieces), the opening music reappears, but what was assertive before is now quiet and enriched by softly radiant commentary from the flute and the oboe.

Another cadence of extreme formality, and a new theme appears. This, too, being full of gentle, unobtrusive complexities such as the imitation in the bass of the violin melo- dy or the deft addition to the texture of bassoon and flute, is not so innocent as at first it seems. One tune in this movement is catchier than the rest, more singable, and for good reason: Mozart is quoting one of his own arias, Un bacio di mano ("A Hand-kiss"), K.541, written a couple of months earlier for Francesco Albertarelli, his first Viennese Don Giovanni, to insert in Anfossi's opera Le gelosie fortunate.

When he comes to his Andante—the strings are muted now—Mozart becomes more overtly personal, writing music saturated in pathos and offering one rhythmic surprise after another. The destiny of the thirty-second-note serpents that the violins append to the first theme when the basses initially take it over is especially wondrous. The coda, which adds miracles at a point when we can hardly believe more miracles are possible, was an afterthought appended by Mozart on an extra leaf. Haydn, wishing to set an un- obtrusive memorial for his beloved friend, alluded to this deeply touching movement in the Adagio of his own Symphony No. 98 in B-flat.

The Minuet, aside from having the proper meter and speed, is not particularly min- uet-like. It is fascinating what a wide-ranging category "minuet" is for Mozart. In these last three symphonies alone we have the bandstand high spirits of the one in No. 39,

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10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B off Route 128) www.foxhillvillage.com the fiercely serious sense of purpose and drive in the G minor, and here the perfect embodiment of elegance. The Jupiter Minuet is wonderful in a quiet way: here is music that constantly blossoms into richesses Mozart carefully leads us not to expect. The Trio

is, for the most part, an enchanting dialogue of ever so slightly coquettish strings and winds so soberly reticent that they seem able to do no more than make little cadences. There is one forte outburst lasting just a few seconds: here the orchestra sounds a new and brief phrase of striking profile. It demands attention, and, although just then it seems to pass without consequence, we shall soon discover why.

That happens the moment the finale begins. Here Mozart picks up the four-note idea

that had made such a startlingly forceful appearance in the Trio. When first we heard it,

it was on an odd harmonic slant; now it is set firmly in C major. This idea is in fact part

of the common stock of the eighteenth-century vocabulary; Mozart himself had used it before on several occasions—in Masses, in the Symphony No. 33 in B-flat, in the great E-flat sonata for piano and violin, K.481—and as he is quick to remind us, it lends it- self to contrapuntal elaboration.

The music moves at a tempo swifter than any we have yet heard in this symphony. All the themes in this finale are short: they are material to work with more than objects presented for the sake of their intrinsic charm, and Mozart whirls them by us with a fierce energy that is rooted in his dazzling polyphony. Especially when the development gets going, the expressive intensity generated by that energy is exhilarating, shocking, uplifting all at once.

Six years earlier, Mozart had come to know the music of J.S. Bach. Having begun by transcribing and imitating, Mozart has now achieved a complete and easy integration of Baroque polyphony with the galant language that was his most direct inheritance, which he had learned at the knee of Sebastian Bach's youngest son, Johann Christian. In his exuberantly energetic coda, Mozart unfurls a dazzling glory of polyphony to cap, in one of music's truly sublime pages, a movement that is one of the most splendid manifesta- tions of that rich gathering-in we call the classical style. —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979, having previously been music critic of the Boston Globe from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published three compilations of his program notes: The Symphony—A Listeners Guide, The Concerto—A Listener's Guide, and Choral Master- works—A Listeners Guide.

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21

II SBsr Igor Stravinsky Oedipus Rex, Opera-oratorio after Sophocles by Igor Stravinsky and Jean Cocteau, put into Latin by Jean Danielou

Igor Stravinsky was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. He began composing Oedipus Rex, his "opera-oratorio en deux actes d'apres Sophocle," in January 1926 in Nice andfinished the draft score fourteen months later (with repeated interruptions for conducting engage- ments), on March 14, 1927. The orchestration was completed in Paris on May 11, 1927. Intended as a gift to Sergei Diaghilev, founder of the Ballets Russes, to celebrate the company s twentieth season in 1927,

Oedipus Rex was first heard on May 29, 1927, at a soiree at the Paris mansion of the Princess de Polignac, who underwrote the costs of the public premiere, which took place the following night, May 30, 1927, at the Theatre Sarah-Bernhardt, with Stravinsky conducting. Because of a shortage offunds, this was a concert performance, with the male chorus placed in front of a drop curtain, and the soloists (Stephane Belina-Skupievsky as Oedipus, Helene Sadoven as Jocasta, Georges Lanskoy as Creon and the Messenger, Kapiton Zaporjetz as Tiresias, Michel DArial as the Shepherd) in the pit with the orchestra. The role of the Speaker was given to the "very handsome, very young" Pierre Brasseur. The American premiere performances were given by the Boston Symphony Orchestra under Stravinsky's longtime friend Serge Kousse- vitzky on February 24 and 25, 1928; the soloists were Margaret Matzenauer (Jocasta), Arthur Hackett (Oedipus and the Shepherd), Fraser Gauge (Creon, Tiresias, and the Mes- senger), and Paul Leyssac (Speaker), with the Harvard Glee Club, Archibald T Davison, conductor. Koussevitzky and the BSO then gave the New York premiere on March 8, soloists and chorus being the same except that Oedipus was sung by tenor Tudor Davies and the Shepherd by tenor Rulon Y. Rabison. The stage premiere of Oedipus Rex took place in Vienna on February 23, 1928, conducted by Franz Schalk. The American stage premiere, sponsored by the League of Composers, was given in Philadelphia on April 10, 1931, Leopold Stokowski conducting, and then repeated at the Metropolitan Opera House that April 21. BSO performances subsequent to Koussevitzky's first ones were conducted by Stravinsky himself (a single Cambridge performance on March 28, 1940, with tenor Raoul Jobin, mezzo-soprano Joan Peebles, baritone Mack Harrell, speaker Paul Leyssac, and the Harvard Glee Club, G. Wallace Woodworth, conductor, followed by performances on March 29 and 30 at Symphony Hall, with mezzo-soprano Suzanne Sten in place of Joan Peebles); Koussevitzky again (March 12 and 13, 1948, with tenor David Lloyd,

"OEDIPUS REX": THE STORY IN BRIEF

Thebes is afflicted by plague. As instructed by the Oracle of Delphi through his brother- in-law Creon, Oedipus, the king of Thebes and husband of the queen Jocasta, can save his city from the plague only by determining who killed the former king Laius. The blind seer Tiresias reluctantly reveals that it was "a king"—Oedipus himself, "a criminal king"—who murdered Laius, "pollutes the city," and must be driven from it. Oedipus accuses Creon of aiming to unseat him by fostering a false accusation again him, but testimony from a messenger and shepherd reveals that Oedipus—who was raised by Polybus after being found as an infant abandoned on a mountain by his parents —is in fact the son of Laius and Jocasta (to whom Oedipus is now married). Jocasta hangs herself. Oedipus blinds himself with Jocasta's golden brooch and departs.

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mezzo-soprano Carol Brice, baritone James Pease, speaker Wesley Addy, and the Harvard Glee Club; then on August 5, 1948, with the same forces augmented by the Festival Chorus); G. Wallace Woodworth (March 21, 22, and 25, 1952, with tenors David Lloyd and Oscar Henry, contralto Eunice Alberts, baritone Paul Tibbetts, speaker Wesley Addy, and the Harvard Glee Club); Leonard Bernstein (December 8 and 9, 1972, with Rene' Kollo as Oedipus, Tatiana Troyanos as Jocasta, Tom Krause as Creon, Ezio Flagello as Tiresias, Frank Hoffmeister as the Shepherd, David Evitts as the Messenger, speaker Michael Wager, and the Harvard Glee Club, F John Adams, director, Bernstein subsequently recording the work with the BSO a week later, on December 15 and 16), and Seiji Ozawa (a Tangle- wood performance on August 6, 1982, with Kenneth Riegel as Oedipus, Glenda Maurice as Jocasta, John Cheek as Creon, Aage Haugland as Tiresias, John Gilmore as the Shepherd, Joseph McKee as the Messenger, speaker Sam Wanamaker, and the men of the Tanglewood Festival Chorus, John Oliver, conductor, with stage direction by Sam Wana- maker, chorus movement by Pearl Lang, scenery and lighting by John Michael Deegan, and costume design by Sarah G. Conly). The score of Oedipus Rex calls for vocal soloists (Oedipus, tenor; Jocasta, mezzo-soprano; Creon, bass-baritone; Tiresias, bass; the Shepherd, tenor; the Messenger, bass-baritone), a speaker as narrator, a chorus of tenors and basses, and an orchestra including three flutes (third doubling piccolo), two oboes, English horn, three clarinets (third doubling E-flat clarinet), two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, tambourine, military snare drum, bass drum, cymbals), harp, piano and strings.

"I dislike opera," Igor Stravinsky told a London reporter in early 1913, around the time of the sensational Paris premiere of his ballet Rite of Spring. "Music can be married to gesture or to words—not to both without bigamy. That is why the artistic basis of opera is wrong and why Wagner sounds at his best in the concert-room. In any case opera is in a backwater. What operas have been written since Parsifal? Only two that count Elektra and Debussy's Pelleas."

Stravinsky's ambivalence—even hostility—toward conventional opera was an attitude shared by the fashionable company he kept in exile in Paris. Serge Diaghilev, founder of the Ballets Russes and a tireless trendsetter, was convinced that ballet was the art of

the future, and dismissed opera as passe and clumsy, a dead form. It was Diaghilev, for example, who encouraged Stravinsky to rethink his early opera The Nightingale (begun in Russia in 1908 with the blessing of Nikolai Rimsky-Korsakov, who considered ballet silly) as a more experimental piece for a double cast of singers (in the pit) and dancers (on stage). The Ballets Russes performed The Nightingale in this incarnation in early summer 1914. Stravinsky's subsequent work for the stage further developed the idea of mixing genres. Renard (Baika), completed in 1916 and first produced in Paris in 1922, bears the descriptive title "burlesque" and tells a fanciful tale about a fox, a cock, a cat, and a goat. Scored for a chamber ensemble, two solo tenors, and two solo basses, the piece "is to be played by clowns, dancers or acrobats, preferably on a trestle stage

with the orchestra placed behind. If produced in a theatre, it should be played in front of the curtain. The players remain all the time on the stage. They enter together to the accompaniment of the little introductory march, and their exeunt is managed in the same way. The roles are dumb. The singers (two tenors and two basses) are in the orchestra."

Histoire du soldat (1918) is a dance-theatre piece "to be read, played and danced," with a narrator relating a Russian folk variation of the Faust legend. Pulcinella, whose music "after Giambattista Pergolesi" uses soprano, tenor, and bass soloists, has been

called a ballet with song in one act, although Stravinsky also referred to it as an "action dansante." The Wedding (Les Noces; 1923) was labeled "Russian choreographic scenes with song and music" and sometimes subtitled Village Wedding Customs. With its four soloists and four-part chorus, The Wedding has strong operatic elements, but Stravinsky

was notably vague in his ideas about categorizing or staging it. (At one point he described

it as "a divertissement of the masquerade type.") When Diaghilev produced it in 1923,

25 Week 25 only the dancers and four pianos occupied the stage; the singers were in the pit with the orchestra.

Encouraged by Diaghilev and surrounded by a group of extraordinarily gifted dancers, designers, and writers in the revolutionary artistic atmosphere of Paris in the 1920s, Stravinsky was sailing adventurously into uncharted waters, to a destination somewhere between opera, ballet, and theater, and far from the traditionalism of his first mentor Nikolai Rimsky-Korsakov. Stravinsky's genre-mixing has provided a good deal of work for those who enjoy devising categories. The composer's amanuensis Robert Craft, for example, likes to think of Renard, The Wedding, and Pulcinella as "ballets with voice" and Histoire du soldat as a "theatre piece partly danced." The failure of Diaghilev's 1922 Paris production of Stravinsky's more traditional opera buffa, Mavra, could only have deepened the composer's distrust of and dislike for the operatic medium as currently practiced. In his diary, Sergei Prokofiev, another Russian emigre composer living in Paris, reports that in autumn 1922, he and Diaghilev and Stravinsky engaged in a heated debate on the issue: "Diaghilev again launched an attack on me because I am writing operas. Stravinsky supported him, saying that I was taking the wrong path. A loud argu- ment ensued, with terrible shouting."

As a Russian living in France, and with no prospect of returning to his homeland anytime soon, the deracine Stravinsky was also bothered by the problem of language. How could he write operas in Russian while living in France? It was this conundrum that led Stravinsky to the idea of using a "universal language"—like Latin—for a text, the solution he chose for his next large theatre/music composition, Oedipus Rex. In his autobiography, Stravinsky describes the pleasure he received from leaving Russian behind to set a text in Latin, a language he had studied in school but forgotten:

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26 able mold which adequately expresses their value, they do not require any further commentary. The text thus becomes purely phonetic material for the

composer. He can dissect it at will and concentrate all his attention on its primary constituent element—that is to say, on the syllable. Was not this method of treating the text that of the old masters of austere style? This, too, has for centuries been the Church's attitude towards music, and has prevent-

ed it from falling into sentimentalism, and consequently into individualism. The Latin text that gave Stravinsky so much pleasure was a translation made into Latin by Jean Danielou from a French original libretto by Jean Cocteau (1889-1962), freely adapted from the Greek tragedy Oedipus Rex by Sophocles. (What could be more cosmopolitan than a genre-crossing opera-oratorio sung in Latin, translated from French, based on a Greek play, and composed by a Russian?) Stravinsky had known the often outrageous Cocteau for years; the cele- brated wit, critic, and play- wright, who enjoyed appear- ing in public made up in rouge and lipstick, had been flitting around the bright Design by Diihlbergfor a 1929 Berlin staging of "Oedipus Rex" flame f tne Ballets Russes company ever since its earliest Paris seasons. In 1922, Cocteau had produced a modern, translation of Sophocles' Antigone and a new play constructed on a classical foun- dation, Orphee, in 1925. In autumn 1925, Stravinsky approached Cocteau with the

Oedipus project, but with the stipulation that Cocteau 's libretto then be translated into Latin. Cocteau produced numerous drafts before Stravinsky was finally satisfied with his text in early 1926. The idea of a narrator, who at intervals summarizes and comments upon the action in the language of the audience (French in the original version), appears to have come from Cocteau, who had used such distancing devices in other theatrical works.

Stravinsky and Cocteau assumed that their sophisticated Parisian audience would already be familiar with Sophocles' story of Oedipus, King of Thebes, who comes to realize that (through a series of coincidences, accidents, and bad luck) he is married to his own mother (Jocasta) and has murdered his own father (Laius). In the tragedy, Oedipus bravely seeks the truth, and knowledge proves his downfall. Although Stravin- sky and Cocteau disagreed about many aspects of the preparation of the libretto, they both rejected a realistic approach to the material. They wanted something highly styl- ized, monumental, austere, contained within a self-conscious series of framing devices at the same time ancient and modernist: narrator, Latin text, and a flat decor inhabited by puppet-like characters manipulated by fate. In an extensive note preceding the score, Stravinsky specified that the decor should have "no depth. Everything takes place on one level." Even more important was the use of masks: "Except for Tiresias, the Shepherd and the Messenger, the characters remain in their built-up costumes and in their masks. Only their arms and heads move. They should give the impression of living statues." This was not the first time Stravinsky had explored the possibilities of puppets and the- atrical artifice: the ballet Petrushka uses stock characters of the commedia deWarte to break down the wall between illusion and reality.

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28 that he proceeds to subvert. One of Stravinsky's alleged models was the oratorio form as practiced by Handel—but, as Stephen Walsh has pointed out, "the more one studies the supposed correspondences with Handel, the more they tend to disappear." Handel did not use Latin texts, and his choruses were mixed, not exclusively male. The influ- ence of a composer we would not usually consider akin to Stravinsky, Giuseppe Verdi, is more important, especially pronounced in the fiercely dramatic aria sung by Jocasta ("Nonn' erubeskite, reges") and in the ensu- ing Jocasta-Oedipus duet at the opening of

Act II. The orchestration heavily favors the woodwinds and brass, yielding the hard and metallic sound found in other works of Stravinsky from this period, but the voices are accompanied with great subtlety so that the text remains clearly audible. Harmoni- cally, the language is basically tonal, with a strong emphasis on the key of G minor, but without the expected cadential movement. Throughout, Stravinsky tends to omit the fifth in a chord, which creates a strange sensa- tion of "hollowness," as in the final meas- ures, where the timpani, cellos, and basses play an ostinato figure (heard also at the beginning and elsewhere) in 6/8 meter on G and B-flat, resounding like the insistent power of fate that has left Oedipus blinded and shamed.

Igor Stravinsky and "Jean Cocteau r™ r c r% j- t> b j Yhe premiere performance ot Uedipus Hex, given in concert, did not go especially well. For the audience of balletomanes, this new work (particularly when unstaged) was too static and formal. Most of the critics found little to praise, either. That Stravinsky was at the time an inexperienced and inept con- ductor didn't help. Sergei Prokofiev, whose own new ballet Le Pas d'acier was given its premiere by the Ballets Russes one week later, and whose reactions to Stravinsky's music always combined admiration with envy, attended. "The show seemed boring, and they didn't sing very well. It was a success, but a restrained one. Afterwards Diaghilev gave a dinner at the Cafe de la Paix, but it was not particularly lively." As time passed, however, Oedipus edged its way into the repertoire of many opera houses, including the Metropolitan Opera House, where the Met premiere of Oedipus Rex was staged in December 1981 with designs by David Hockney and direction by John Dexter as part of a Stravinsky triple bill, along with The Rite of Spring and The Nightingale, celebrat- ing the centennial of the composer's birth. —Harlow Robinson

Harlow Robinson, Matthews Distinguished University Professor at Northeastern University, is author of Sergei Prokofiev: A Biography (Northeastern) and The Last Impresario: The Life, Times and Legacy of Sol Hurok (Viking), and editor/translator of Selected Letters of Sergei Prokofiev (Northeastern). His articles on Russian music and culture have appeared in the New York Times, Los Angeles Times, Opera News, Ballet, Playbill, and other publications.

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30 More . . .

The important modern biography of Mozart is Maynard Solomon's Mozart: A Life (Har- perPerennial paperback). Quite new to the Mozart bibliography are Mozart: His Life and Work, by Julian Rushton, in the Master Musicians series (Oxford); the late Stanley Sadie's Mozart: The Early Years, 1756-1781 (Oxford), and Mozart's Women: His Family, his Friends, his Music, by the conductor Jane Glover (HarperCollins). Stanley Sadie's Mozart article from The New Grove Dictionary (1980) was published separately as The New Grove Mozart (Norton paperback). The revised entry in the 2001 Grove is by Sadie and Cliff Eisen; this has now been published separately as a new New Grove Mozart (Oxford paper- back). Robert Gutman's Mozart: A Cultural Biography is another important, relatively recent addition to the Mozart bibliography (Harcourt Brace Jovanovich/Harvest paper- back). "Musical lives," a recent series of readable, compact composer biographies from Cambridge University Press, includes John Rosselli's The life of Mozart (Cambridge paperback). Alfred Einstein's Mozart: The Man, the Music is a classic older study (Oxford paperback). The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon, has an entry by Cliff Eisen on the symphonies (Schirmer). Michael Steinberg's program note on the Jupiter Symphony can be found in his compilation volume The Symphony—A Listeners Guide. Donald Francis Tovey's note on the Jupiter is among his Essays in Musical Analysis (Oxford paperback). Neal Zaslaw's Mozart s Sym- phonies: Context, Performance Practice, Reception provides a detailed survey of Mozart's works in the genre (Oxford paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter by H.C. Robbins Landon on "The Symphonies of Mozart" (Oxford paperback). Volkmar Braunbehrens's Mozart in Vienna, 1781-1791 provides a full picture of the composer's final decade (HarperPerennial paperback). Peter Clive's Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries about virtually anyone you can think of who figured in Mozart's life (Oxford).

The Boston Symphony Orchestra recorded the Jupiter Symphony under Erich Leinsdorf in 1963 (RCA) and under Eugen Jochum in 1973 (Deutsche Grammophon). Christoph von Dohnanyi has recorded it with the Cleveland Orchestra (London/Decca). BSO Music Director James Levine has recorded the Jupiter Symphony twice, with the Vienna Phil- harmonic (Deutsche Grammophon) and the Chicago Symphony Orchestra (RCA). Other noteworthy recordings include Hans Graf's with the Orchestra of the Salzburg Mozarteum (Laserlight), Charles Mackerras's with the Prague Chamber Orchestra (Telarc), and George Szell's with the Cleveland Orchestra (Sony Classical). For a performance on period instruments, try Christopher Hogwood's with the Academy of Ancient Music (L'Oiseau-Lyre).

The Stravinsky article in the expanded (2001) New Grove Dictionary of Music and Musi- cians is by Stephen Walsh, who is also the author of Stravinsky: Oedipus Rex in the Cam- bridge Music Handbooks series (Cambridge University paperback) and of an important two-volume Stravinsky biography (Stravinsky—A Creative Spring: Russia and France, 1882-1934 and Stravinsky— The Second Exile: France and America, 1934-1971), the second volume of which was published just last month (Norton). To read further on Oedipus Rex, see also Stravinsky: The Rake's Progress—Oedipus Rex in the series of English National Opera guides (Calder paperback). Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of Califor- nia), also provided the Stravinsky article for the 1980 edition of The New Grove; this was reprinted in The New Grove Modern Masters: Bartok, Hindemith, Stravinsky (Norton paperback). Charles M. Joseph's Stravinsky Inside Out challenges some of the popular myths surrounding the composer (Yale University Press, 2001). Also relatively recent are Joseph's Stravinsky and Balanchine, which studies the relationship between those two collaborators (also Yale University Press), and The Cambridge Companion to Stravin- sky, edited by Jonathan Cross, which includes various essays on the composer's life and

31 Week 25 92

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32 works (Cambridge University Press). Two other readily available biographies are Michael Oliver's Igor Stravinsky in the wonderfully illustrated series "20th-century Composers" (Phaidon paperback) and Neil Wenborn's Stravinsky in the series "Illustrated Lives of the Great Composers" (Omnibus Press). Other useful studies include Stephen Walsh's The Music of Stravinsky (Oxford paperback) and Francis Routh's Stravinsky in the Master Musicians series (Littlefield paperback). If you can find a used copy, Stravinsky in Pic- tures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer's life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Useful specialist publications include Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), Pieter C. van den Toorn's highly analyt- ical The Music of Igor Stravinsky (Yale), and Richard Taruskin's two-volume, 1700- page Stravinsky and the Russian Traditions: A Biography of the Works through "Mavra" which treats Stravinsky's career through the early 1920s, which is to say not quite far enough to include Oedipus Rex (University of California).

Two indispensable recordings of Stravinsky's Oedipus Rex were led by the composer: the first, from 1952 in monaural, has Peter Pears (Oedipus), Martha Modi (Jocasta), Heinz Rehfuss (Creon), Otto von Rohr (Tiresias), Jean Cocteau (narrating in French), and Helmut Krebs (the Shepherd) with the Cologne Radio Symphony Orchestra and Chorus; the second, from 1962 in stereo, has George Shirley (Oedipus), Shirley Verrett (Jocasta), Donald Gramm (Creon), Chester Watson (Tiresias), John Westbrook (narrating in English), Loren Driscoll (the Shepherd), and John Reardon (the Messenger) with the Washington Opera Society Chorus and Orchestra. Both were recorded originally for CBS, the later one being reissued on compact disc as part of Sony Classical's twenty- two-disc set of Stravinsky's recordings (which may or may not still be findable). A live 1951 Cologne performance led by Stravinsky—with the same cast as his first recording, but with Werner Hessenland as a German-language narrator—is slated for release on Music & Arts this month. The Boston Symphony Orchestra recorded Oedipus Rex under Leonard Bernstein in December 1972 a week after the performances he led here at Sym- phony Hall with Rene Kollo as Oedipus and Tatiana Troyanos as Jocasta (see page 25 for a complete listing of the participants). Seiji Ozawa and the Saito Kinen Orchestra recorded Oedipus Rex with Peter Schreier (Oedipus), Jessye Norman (Jocasta), and Bryn Terfel (Creon) among the soloists in September 1992 (Philips, with Georges Wilson as the French-language narrator). A video release of that summer's powerful Saito Kinen production—with stage and video direction by Julie Taymor—has appeared recently on DVD following earlier VHS and Laser Disc incarnations (Philips; Philip Langridge is the Oedipus on the video—the only cast member not retained for the CD). There have also been recordings of Oedipus Rex (listed here with original labels and year of issue) led by Ernest Ansermet (Decca/London, 1954; narration in French), Ferenc Fricsay (Deutsche Grammophon, 1955; narration in German), Colin Davis (Angel, 1962; English narration), Karel Ancerl (Supraphon, 1966; French narration), George Solti (Decca /Lon- don, 1976; English narration), and two conducted by Robert Craft (MusicMasters, 1991; English narration, and Naxos, 2004; English narration). —Marc Mandel

33 Week 25

II ff« STRAVINSKY "Oedipus Rex' Act One SPEAKER You are about to hear a Latin version of King Oedipus, based on the tragedy by Sophocles, but preserving only a certain monumental aspect of its various scenes. I shall recall the story for you step by step.

Though he himself is not aware of it, Oedipus is contending with those supernatural powers that watch us from a world beyond death. At the moment of his birth, a trap was set for him, and you will see that trap closing. Now the drama: The city of Thebes is demoralized. First the degradations of the Sphinx, now the plague. The chorus implores Oedipus to save his city. Oedipus has vanquished the Sphinx, he is confident, he promises. CHORUS Caedit nos pestis, The plague falls on us, Theba peste moritur. Thebes is dying of the plague. E peste serva nos,serva, From the plague deliver us, deliver us e peste qua Theba moritur. From the plague of which Thebes is dying. Oedipus, adest pestis, Oedipus, the plague is upon us, caedit nos pestis, Oedipus, The Plague falls on us, Oedipus, e peste serva nos, serva, Oedipus, From the plague deliver us, deliver us, Oedipus, e peste libera urbem, Oedipus, From the plague deliver the city, Oedipus, urbem serva morientem. Deliver the dying city. OEDIPUS Liberi, vos liberabo. My children, I shall set you free. Liberabo vos, vos a peste. I shall set you, you, free of the plague.

Ego, clarissimus Oedipus, I, most illustrious Oedipus, eg'Oedipus vos diligo. I, Oedipus, cherish you.

Eg'Oedipus vos servabo. I, Oedipus, shall deliver you. CHORUS Serva nos adhuc, Deliver us once more, serva urbem, Oedipus, Deliver the city, Oedipus, serva nos! Deliver us! Quid faciendum, Oedipus, What must be done, Oedipus, ut liberemur? That we may be set free? OEDIPUS Uxoris frater mittitur, The brother of my wife was sent, oraculum consulit, He has consulted the oracle. deo mittitur Creo, Creon was sent to the god, oraculum consulit, He has consulted the oracle, quid faciendum consulit. He has asked what must be done. Creo ne commoretur. May Creon be quick to return!

(Creon appears.) CHORUS Ave, Creo! Audimus. Hail, Creon! We listen. Ave, Creo! Cito, cito. Hail, Creon! Make haste, make haste. Audituri to salutant. We who are about to listen salute you.

34 SPEAKER

Here is Creon, brother-in-law to Oedipus. He has just consulted the oracle. The oracle demands that the murder of King Laius of Thebes be avenged. The murderer is hiding in the city. He must be discovered at all costs. Oedipus boasts of his skill at unraveling mysteries. He himself will discover the murderer and rid the city of him. CREON Respondit deus: The god gives answer: Laium ulcisci, Avenge Laius, scelus ulcisci, Avenge the crime, reperire peremptorem. Discover the murderer. Thebis peremptor latet. Thebes conceals the murderer, Latet peremptor regis, Conceals the murderer of the king, reperire opus istum, Who must be discovered luere Thebas, To purge Thebes, Thebas a labe luere, To purge Thebes of its stain. Caedem regis ulcisci, Avenge the death of the king, regis Laii perempti, Of the murdered King Laius. Thebis peremptor latet. Thebes conceals the murderer. Opus istum reperire, He must be discovered, quern depelli deus jubet. He, who the god decrees must be driven away. Peste inficit Thebas. He infects Thebes with the plague. Apollo dixit deus. Apollo the god has spoken. OEDIPUS Non reperias vetus scelus. You cannot right this ancient wrong.

Thebas eruam. I will scour Thebes. Thebas incolit scelestus. The criminal dwells in Thebes. CHORUS Deus dixit, tibi dixit. The god has spoken, he has spoken to you. OEDIPUS Tibi dixit. He has spoken to you. Mibi debet se dedere. It is to me that he will give himself up. Opus vos istum deferre. He must be driven away.

Thebas eruam. I will scour Thebes.

Thebis pellere istum. I will drive him from Thebes. Vetus scelus non reperias. The ancient wrong will be avenged. CHORUS Thebis scelestus incolit. The criminal dwells in Thebes. OEDIPUS Deus dixit, dixit, dixit... The god has spoken, has spoken, has spoken... Sphynga solvi, carmen solvi, I solved the riddle of the Sphinx, ego divinabo. I shall once more divine.

Iterum divinabo, I shall divine again, clarissimus Oedipus, I, most illustrious Oedipus,

Thebas iterum servabo, I shall again deliver Thebes, ego, eg'Oedipus, carmen divinabo. I, I, Oedipus, I shall divine the riddle. CHORUS Solve, solve, solve! Solve, solve, solve!

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35 OEDIPUS

Polliceor divinabo! I promise I shall deliver it. CHORUS

Solve, Oedipus, solve! Solve, Oedipus, solve it! OEDIPUS

Clarissimus Oedipus, I, most illustrious Oedipus, polliceor divinabo. I promise I shall divine it. SPEAKER Oedipus interrogates the fountain of truth, Tiresias the seer. Tiresias avoids a direct reply. He already knows that Oedipus is the plaything of heartless gods. His silence angers Oedipus. He accuses Creon of wanting the throne and Tiresias of being his accomplice. Revolted by that injustice, Tiresias comes to a decision. The fountain speaks. This is his message: the murderer of the King himself is a king. CHORUS Delie, exspectamus, God of Delos, we are waiting, Minerva filia Iovis, Minerva, daughter of Jove, Diana in trono insidens. Diana enthroned. Et tu, Phaebe, And you, Phoebus, insignis iaculator, Splendid archer, succurrite nobis. Come to our aid. Lt praeceps ales ruit malum For the winded evil rushes swiftly, et premitur funere funus Death follows hard upon death,

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36 et corporibus corpora inhumata. And the dead lie unburied in heaps. Expelle. expelle, everte in mare Drive out. drive out, cast into the sea atrocem istum Martem Dreadful Mars, qui nos urit inermis Who destroys us as we sit helpless. dementer ululans. Howling in madness. Et tu. Bacce. cum taeda advola. And vou. Bacchus, come swiftly with your torch. advola nobis urens infamem Come swiftly to burn up this god inter deos deum. Hated among the gods.

(Tiresias appears.)

Salve, Tiresia. Hail, Tiresias, homo clare, rates! Famed man, seer! Die nobis quod monet deus, Tell us what the god decrees, die cito, sacrorum docte. die, die! Tell us quickly, most learned one in holy things, tell us, tell us! TIRESIAS Dicere non possum, I cannot speak. dicere non licet, I may not speak, dicere nefastum, It is an abomination to speak, Oedipus, non possum. Oedipus. I cannot. Dicere ne cogas. Do not force me to speak, cave ne dicam. Beware lest I speak. Clarissime Oedipus, tacere fas. Most illustrious Oedipus, allow me to be silent. OEDIPUS Taciturnitas t'accusat: \our silence accuses you: tu peremptor. lou are the murderer. TIRESIAS Miserande. dico. Wretched man. I speak. quod me accusas. dico. Since you accuse me, I speak. Dicam quod dixit deus; I shall speak what the god has said. nullum dictum celabo; I shall keep back nothing: inter vos peremptor est, The murderer is among you. apud vos peremptor est, The murderer is in your midst. cum vobis, vobiscum est. He is with you. Regis est rex peremptor. The murderer of the King is a king. Rex cecidit Laium. A king slew Laius. rex cecidit regem. A king slew the King. deus regem accusat: The god accuses a king: peremptor rex! A king is the murderer! Opus Thebis pelli, He must be driven from Thebes, Thebis pelli regem. The king must be driven from Thebes. Rex scelestus urbem foedat. A criminal king pollutes the city, Rex peremptor regis est. A king is the murderer of the King. OEDIPUS Invidia fortunam odit, Envy hates good fortune. creavistis me regem. ^.ou made me king. Servavi vos canninibus I delivered you from the riddle. et creavistis me regem. And you made me king. Solvendum carmen, cui erat? ^ ho should have solved the riddle?

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37

I! —

Tibi, tibi, homo! You, you, man! Tibi, tibi, homo clare, vates; You, you, famous man, seer! a me solutum est But it was I who solved it, et creavistis me regem. And you made me king. Invidia fortunam odit. Envy hates good fortune. Nunc vult quidam munus meum, Now there is one who wants my office, Creo vult munus regis. Creon wants the office of king. Stipendarius es, Tiresia! You are in his pay, Tiresias!

Hoc facinus ego solvo! I shall uncover this plot! Creo vult rex fieri. Creon wants to be king. Quis liberavit vos carminibus? Who set you free from the riddle?

Amici, amici! Eg'Oedipus clarus, ego. Friends, friends! It was I, great Oedipus, I. Invidia fortunam odit. Envy hates good fortune. Volunt regem perire, They want to destroy the king, vestrum regem perire, To destroy your king, clarum Oedipodem, vestrum regem. Great Oedipus, your king.

(Jocasta appears.) CHORUS Gloria, gloria, gloria! Glory, glory, glory! Laudibus regina Jocasta Praises to Queen Jocasta in pestilentibus Thebis. In plague-stricken Thebes. Gloria, gloria, gloria! Glory, glory, glory! In pestilentibus Thebis In plague-stricken Thebes laudibus regina nostra. Praises to our queen. Gloria, gloria, gloria! Glory, glory, glory! Laudibus Oedipodis uxor. Praise to the wife of Oedipus. Gloria, gloria, gloria! Glory, glory, glory!

Act Two CHORUS Gloria, gloria, gloria! Glory, glory, glory! Laudibus regina Jocasta Praises to Queen Jocasta in pestilentibus Thebis. In plague-stricken Thebes. Gloria, gloria, gloria! Glory, glory, glory! In pestilentibus Thebis In plague-stricken Thebes laudibus regina nostra. Praises to our queen. Gloria, gloria, gloria! Glory, glory, glory! Laudibus Oedipodis uxor. Praise to the wife of Oedipus. Gloria, gloria, gloria! Glory, glory, glory! SPEAKER The quarrel of the princes draws Jocasta. You will hear her calm them and also shame them for shouting in a city of sickness. She does not believe in oracles. She proves that oracles lie. For example: The oracle had foretold that Laius would die at the hands of a son of hers, when in fact he was murdered by bandits at the crossroads where three ways between Daulis and Delphi meet. Trivium! Crossroads! Mark well that word! Trivium! The word stuns Oedipus. He remembers how, returning from Corinth before his encounter with the Sphinx, he had killed an old man at the crossing of three roads. If that was Laius, what now? for he cannot return to Corinth, the city where he had grown up as the son of King Polybus, since the oracle had told him—threatened him that he would kill his father and marry his own mother. He is afraid.

38 JOCASTA Nonn'erubescite, reges, Are you not ashamed, princes. clamare, ululare in aegra urbe To shout and howl in a stricken city, domesticis altercationibus, In private strife? reges, nonn'erubescite? Princes, are you not ashamed? Nonn'erubescite in aegra urbe clamare, Are you not ashamed to shout in a stricken city, clamare vestros domesticos clamores To shout out your private quarrels in aegra urbe? In a stricken city? Nonn'erubescite altercationibus, reges? Are you not ashamed of your quarrels, princes? Coram omnibus clamare, To shout before everyone. coram omnibus domesticos clamores, Before everyone your private quarrels, clamar'in aegra urbe, To shout in a stricken city. reges, nonn'erubescite? Princes are you not ashamed? Ne probentur oracula. Oracles are not to be trusted. Ne probentur oracula Oracles are not to be trusted, quae semper mentiuntur. For they always lie. Oracula, oracula, Oracles, oracles. mentita sunt oracula. They are liars, those oracles. Cui rex interficiendus est? By whom was the king to be slain? Nato meo. By a son of mine. Age rex peremptus est. But the king was murdered. Laius in trivio mortuus. l^aius died at the crossroads. Ne probentur oracula Oracles are not to be trusted, quae semper mentiuntur. For they always lie. JOCASTA Laius in trivio mortuus. Laius died at the crossroads. Ne probentur oracula Oracles are not to be trusted, quae semper mentiuntur. For they always lie. Cave oracula. Beware of oracles. CHORUS Trivium. trivium. trivium.., The crossroads, the crossroads, the crossroads... OEDIPUS

Pavesco subito, Jocasta, Suddenly I am afraid, Jocasta, pavesco maxime, pavesco. I am afraid with a great fear. I am afraid. Jocasta, Jocasta, audi: Jocasta. Jocasta, listen: locuta es de trivio? Did you speak of the crossroads? Ego senem cecidi, I killed an old man cum Corintho excederem, As I was coming from Corinth, cecidi in trivio, Killed him at the crossroads, cecidi, Jocasta, senem. Killed, Jocasta, an old man. JOCASTA Oracula mentiuntur, Oracles lie, semper oracula mentiuntur, Oracles always lie. Oedipus, cave oracula, Oedipus, beware of oracles. quae mentiuntur. For they lie. Oedipus, cave. Oedipus, beware.

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39 iJ

JOCASTA Oracula mentiuntur, Oracles lie, semper oracula mentiuntur. Oracles always lie. Oedipus, cave oracula. Oedipus, beware of oracles. Domum cito redeamus. Let us return home at once. Cave oracula, Beware of oracles, quae semper mentiuntur. For they always lie. None est consulendum. None must be consulted. OEDIPUS

Pavesco maxime, pavesco, I am afraid with a great fear, I am afraid, pavesco subito, Jocasta, Suddenly I am afraid, Jocasta, pavor magnus, Jocasta, A great fear, Jocasta, in me inest. Invades me. Subito pavesco, uxor Jocasta. Suddenly I am afraid, Jocasta, my wife, Pavesco, Jocasta. I am afraid, Jocasta. Nam in trivio cecidi senem; For I killed an old man at the crossroads. pavor magnus, Jocasta, in me inest, A great fear, Jocasta, invades me, in me inest subito. Invades me suddenly.

Volo consulere, I want to consult consulendum est, Jocasta, Those who must be consulted, Jocasta, volo videre pastorem. I want to see the shepherd. Sceleris superest spectator. He still lives, the witness of the crime.

Jocasta, consulendum, Jocasta, I want to consult Volo consulere. Him who must be consulted. OEDIPUS

Sciam! I must know! SPEAKER

The gods' trap begins its work. The witness of the murder steps from the shadows. Then a messenger brings the news that King Polybus is dead and reveals to Oedipus that he was a foundling and only the adopted son of Polybus: Jocasta understands. In vain she attempts to draw Oedipus away. She herself makes her escape. Oedipus believes her to be ashamed at being the wife of an upstart. That Oedipus, so proud of unriddling every- thing! He is in the trap and he is the only one not to know it. Then the truth strikes him. He falls. He falls from high.

(The Shepherd and the Messenger appear.) CHORUS Ades omniscius pastor The shepherd who knows all is here, et nuntius horribilis. And the messenger of dread news. MESSENGER Mortuus est Polybus. Polybus is dead. Senex mortuus Polybus, The aged Polybus is dead. Polybus non genitor Oedipodis; Polybus was not father to Oedipus; a me ceperat Polybus, It was from me that Polybus got him, eg'attuleram regi. It was I who took him to the king. CHORUS Mortuus est Polybus. Polybus is dead. Mortuus senex Polybus. Dead is the aged Polybus. MESSENGER Falsus pater per me! A feigned father, through my doing!

40 UHHHHHBS KVIMHMUA

CHORUS Verus non fuerat pater Oedipodis. He was not the true father of Oedipus, Falsus pater per te! A feigned father, through your doing! MESSENGER Repperam in monte I found on the mountain puerum Oedipoda, The boy Oedipus, derelictum in monte Abandoned on the mountain, parvulum Oedipoda The infant Oedipus, foratum pedes, His feet pierced, vulneratum pedes, His feet wounded, parvulum Oedipoda. The infant Oedipus. Repperam in monte, I found him on the mountain, attuleram pastori I took to the shepherd puerum Oedipoda. The boy Oedipus. CHORUS Resciturus sum monstrum, I am about to hear a marvel, monstrum resciscam. I shall hear a marvel. Deo claro Oedipus natus est, Oedipus was born of a great god, deo et nympha montium Of a god and a nymph of the mountain in quibus repertus est. On which he was found. SHEPHERD Opportebat tacere, nunquam loqui. It would have been better to keep silent, not to speak.

Sane repperit parvulum Oedipoda, It is true that he found the infant Oedipus, a patre, a matre By his father, by his mother in monte derelictum Abandoned on the mountain, pedes laqueis foratum. His feet pierced with thongs. Utinam ne diceres; Would that you had not spoken, hoc semper, semper celandum That this had been ever, ever kept concealed, inventum esse in monte How he was found on the mountain, derelictum parvulum, The abandoned infant, parvum Oedipoda, The infant Oedipus, in monte derelictum. Abandoned on the mountain. Opportebat tacere, nunquam loqui. It would have been better to keep silent, not to speak. OEDIPUS Nonne monstrum rescituri Will you not reveal the marvel quis Oedipus, genus Oedipoda sciam Of who Oedipus is? I must know the origins of Oedipus. Pudet Jocastam, fugit. Jocasta is ashamed, she flees. Pudet Oedipi exulis, She is ashamed of Oedipus the exile, pudet Oedipodis generis. She is ashamed of Oedipus' origins. Sciam Oedipodis genus, I must know the origins of Oedipus, genus meum sciam. I must know my origins. Nonne monstrum rescituri, Will you not reveal the marvel? genus Oedipodis sciam, I must know the origins of Oedipus, genus exulis mei. The origin of my exile.

Ego exul exsulto. I, an exile, exult.

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41 I

SHEPHERD and MESSENGER In monte repertus est, On the mountain he was found, a matre derelictus; Abandoned by his mother; a matre derelictum Abandoned by his mother in montibus reperimus. We found him on the mountain. SHEPHERD and MESSENGER Laio Jocastaque natus! Born of Laius and Jocasta! CHORUS Natus Laio et Jocasta! He was born of Laius and Jocasta! SHEPHERD and MESSENGER Peremptor Laii parentis! Murderer of Laius, his parent! SHEPHERD, MESSENGER, and CHORUS Coniux Jocastae parentis! Husband of Jocasta, his parent! SHEPHERD and MESSENGER Utinam ne diceres, Would that you had not spoken, opportebat tacere, It would have been better to keep silent, nunquam dicere istud: Not to say these words: SHEPHERD, MESSENGER, and CHORUS a Jocasta derelictum Abandoned by Jocasta, in monte repertus est. On the mountain he was found.

(Shepherd and Messenger exeunt) OEDIPUS Natus sum quo nefastum est, I was born where to be born is sin, concubui cui nefastum est, I lay where to lay is sin, cecidi quern nefastum est. I killed whom to kill is sin. Lux facta est! All is made light! SPEAKER And now you will hear the famous monologue in which the messenger recounts how queen Jocasta died. He can scarcely open his mouth. The chorus takes over his role and helps him tell the story of how Jocasta hanged herself and how Oedipus put out his own eyes with her golden pin. Then the epilogue: The King is caught. He would show himself to all—to show the unclean monster, the incestuous beast, the parricide, the fool. They drive him off. Very, very gently, they drive him off. Farewell, farewell, poor Oedipus! Farewell, Oedipus. We loved you. MESSENGER Divum Jocastae caput mortuum! Jocasta the Queen is dead! CHORUS Mulier in vestibulo The woman in the entrance way comas lacerare. Is tearing her hair. Claustris occludere fores, She is making fast the doors, occludere, exclamare. Making them fast, crying out. Et Oedipus irrumpere, And Oedipus breaks in, irrumpere et pulsare, Breaks in and beats on the doors, et Oedipus pulsare, ululare. And Oedipus beats on the doors and howls. MESSENGER Divum Jocastae caput mortuum! Jocasta the Queen is dead! CHORUS Et ubi evellit claustra, And when they broke open the doors suspensam mulierem Everyone saw

42 omnes conspexerunt. The woman hanged. Et Oedipus praeceps ruens And Oedipus, rushing headlong, illam exsolvebat, Loosened the cord illam collocabat; And laid her down; illam exsolvere, Loosened her, illam collocare. Laid her down. Et aurea fibula And with a golden pin, et avulsa fibula A pin plucked from her, oculos effodire; He gouged out his eyes. ater sanguis rigare. The black blood flowed. MESSENGER Divum Jocastae caput mortuum! Jocasta the Queen is dead! CHORUS Sanguis ater rigabat; The black blood flowed; ater sanguis prosiliebat; The black blood gushed forth; et Oedipus exclamare And Oedipus cried aloud et ses detestare. And cursed himself. Omnibus se ostendere. He shows himself to all. Aspicite fores pandere, See through the open doors, spcctaculum aspicite, See the sight, spectaculum omnium atrocissimum. Of all sights the most horrible. MESSENGER Divum Jocastae caput mortuum! Jocasta the Queen is dead! CHORUS Ecce! Regem Oedipoda, Behold! Oedipus the King, foedissimum monstrum monstrat, Shows himself to all as a most foul monster, foedissimum beluam. A most foul beast. Ellum, regem Oedipoda! Lo, Oedipus the King! Ellum, regem occecatum! Lo, the eyeless King! Rex occecatus, rex parricida, The eyeless King, the parricide King, miser Oedipus, Poor Oedipus, miser rex Oedipus carminum coniector Poor Oedipus, solver of riddles. Adest! Ellum! Regem Oedipoda! He is here! Behold him! King Oedipus! Vale, Oedipus, Farewell, Oedipus, te amabam, to miseror. I loved you, I pity you. Miser Oedipus, Wretched Oedipus, oculos tuos deploro. I lament your eyes. Vale, vale Oedipus, Farewell, farewell, Oedipus, miser Oedipus noster, Our poor Oedipus, te amabam, Oedipus. I loved you, Oedipus. Tibi valedico, Oedipus, I bid you farewell, Oedipus, tibi valedico. I bid you farewell.

—Jean Danielou, S.J.

©Copyright 1927 by Edition Russe de Musique; renewed 1952 ©Copyright and Renewal assigned to Boosey & Hawkes, Inc. Revised version ©1949, 1950 by Boosey & Hawkes, Inc.; Renewed 1976, 1978 English translation ©1949, 1956. (1981), (1982) by Boosey and Hawkes, Inc. Reprinted by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

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44 Christoph von Dohnanyi Christoph von Dohnanyi is recognized as one of the world's preemi- nent orchestral and opera conductors. In addition to guest engage- ments with the major opera houses and orchestras of Europe and North America, he has held opera directorships in Frankfurt and Hamburg as well as principal orchestral conducting posts in Germany, London, and Paris. In the current season, Mr. Dohnanyi returns to his hometown of Hamburg to become chief conductor of the NDR Sinfonieorchester, leading subscription concerts in Hamburg, Bremen, and Liibeck and a tour throughout Germany, Italy, and Switzerland. He continues with London's Philharmonia Orchestra as its principal conductor, having been the Philharmonia's principal guest con- ductor since 1994. He leads that orchestra in subscription concerts at the Royal Festival Hall and on tour throughout England; last season they toured Europe and the United States. He and the Philharmonia have also developed a successful collaboration with the Theatre du Chatelet in Paris, where they performed Strauss's Die Frau ohne Schatten, Schoenberg's Moses und Aron, Stravinsky's Oedipus Rex, Humperdinck's Hansel und Gretel, and Strauss's Die schweigsame Frau and Arabella, among other works. Also last season Mr. Dohnanyi returned to the Chicago Symphony at Ravinia and the Boston Symphony at Tanglewood, led performances of Fidelio at Lyric Opera of Chicago, and conducted sub- scription concerts with the Boston Symphony. In recent seasons he has led the Los Angeles Philharmonic in Disney Hall, the Chicago Symphony at Orchestra Hall and Ravinia, and performances with the Philharmonia of London in New York, Philadelphia, Washington, D.C., and the New Jersey Performing Arts Center. In 2002 Mr. Dohnanyi completed his tenure as music director of the Cleveland Orchestra, a post he assumed in 1984. During those years he led the orchestra in a thousand concerts, fifteen international tours, and twenty-four premieres, and recorded more than a hundred works. In 2002-03 he was named that orchestra's music director laureate. Christoph von Dohnanyi has conducted frequently at the world's great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest conductor with the Vienna Philharmonic at the Salzburg Festival, where he led the world premeires of Henze's Die Bassariden and Cerha's Baal. He also appears with Zurich Opera, where in recent years he has conducted Strauss's Die schweigsame Frau, a double bill of Stravinsky's Oedipus Rex and Bartok's Bluebeard's Castle, and new productions of Verdi's Un ballo in

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46 maschera and Berg's Wozzeck. Mr. Dohnanyi has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With the latter he has recorded a variety of symphonic works and a number of operas, including Fidelio, Wozzeck, Lulu, Erwartung, Salome, and The Flying Dutchman. With the Cleveland Orchestra, his large and varied discography includes recordings of Die WalkiLre and Das Rheingold, the complete symphonies of Beethoven, Brahms, and Schumann, symphonies by Bruckner, Dvorak, Mahler, Mozart, Schubert, and Tchaikovsky, and works by Bartok, Berlioz, Ives, Varese, and Webern. Christoph von Dohnanyi made his BSO subscription series debut in February 1989. Prior to his two programs this month, his most recent appearances with the orchestra were at Tanglewood in August 2004 (joining the BSO for Tanglewood on Parade and a program of Schumann and Brahms) and for two programs in April 2005 (leading music of Birtwistle, Lutoslawski, Mahler, Ravel, and Schumann).

Stuart Skelton (Oedipus) Tenor Stuart Skelton has emerged as one of the finest heroic tenors of his generation with performances on leading concert and operatic stages extending from his native Australia to Asia, Europe, and North America. Mr. Skelton's repertoire encompasses such roles as Wagner's Parsifal, Lohengrin, Erik, and Siegmund, the Kaiser in Strauss's Die Frau ohne Schatten, Beethoven's Florestan, Dvorak's Dimitrij, Britten's Peter Grimes, and Stravinsky's Oedipus, which he sang earlier this season with Michael Tilson Thomas and the San Francisco Symphony and with which he makes his Boston Symphony Orchestra debut this week. During the current season Mr. Skelton makes his debut with the Opera National de Paris as the Prince in Dvorak's Rusalka under Jiri Belohlavek, returns to Oper Frankfurt as Parsifal, and joins David Robertson and the Saint Louis Symphony Orchestra for Mahler's Das Lied von der Erde both in Saint Louis and at Carnegie Hall. During 2004-05 he made his Teatro Giuseppe Verdi, Trieste, debut in the title role of Lohengrin and brought his acclaimed portrayal of Erik in Derfliegende Hollander to the Vienna Staatsoper and to the Deutsche Oper Berlin. He was Siegmund in Die Walkiire in a new production led by Asher Fisch at the State Opera of South Australia and returned to Oper Frankfurt as the Kaiser in Die Frau ohne Schatten and to add Laca in Jenufa to his already comprehensive repertoire. His summer schedule brought him to Edinburgh with David Robertson and to the BBC Proms with Richard Hickox. Highlights of past opera seasons have included Parsifal with Oper Frank- furt and the Nord Deutsche Rundfunk Orchester, Fidelio at the Staatstheater Stuttgart and the Teatro Carlo Felica in Genoa, Rusalka and Oedipus Rex at Opera North, Don

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47 Jose in Carmen at the Vienna Volksoper and Opera Australia, Die Frau ohne Schatten and the title role of Peter Grimes at Oper Frankfurt, King Arthur in Albeniz's Merlin for the Teatro Real Madrid (available commercially on DVD), the title role of Lohengrin at the Teatro Comunale di Bologna with Daniele Gatti, and both Lohengrin and Derfliegende Hollander at the Deutsche Staatsoper Unter den Linden Berlin under Daniel Barenboim. Concert performances have included Mahler's Das Lied von der Erde with Daniel Harding and the Frankfurt Radio Symphony, Elgar's The Dream of Gerontius with the Bern Sym- phony, Dvorak's Requiem with Mariss Jansons and the Bayerische Rundfunk Symphonie- orchester, Weber's Euryanthe with the BBC Scottish Symphony Orchestra and David Robertson, Stravinsky's Pulcinella with the Sydney Symphony; Mahler's Symphony No. 8 with the Orchestre Philharmonique du Strasbourg and at the Baden-Baden Festspielhaus under Michael Gielen, Beethoven's Symphony No. 9 with the Tokyo National Orchestra under Kazushi Ono and with the Sydney Symphony Orchestra under Edo de Waart; and Rachmaninoff's The Bells with the BBC Scottish Symphony Orchestra.

Anna Larsson (Jocasta) During the current season, Swedish alto Anna Larsson—who made her BSO debut in Beethoven's Missa Solemnis under Seiji Ozawa in September 2000—has sung Erda in Das Rheingold at the Royal Opera in Stockholm and Gaea in concert performances of Strauss's Daphne as well as Brahms's Alto Rhapsody on tour in the United States with the WDR Sinfonieorchester and Semyon Bychkov. Her 2004-05 season included Erda with both the Orches- tra of the Age of Enlightenment under Sir Simon Rattle and the Gothenburg Symphony under Kent Nagano, Mahler's Symphony No. 2 with the Berlin Philharmonic and Bernard Haitink, concerts with the Wiener Hofmusikkapelle and Riccardo Muti, Messiah at Vienna's Musikverein with the Concentus Musicus and Nicolaus Harnoncourt, Bach's B minor Mass with the Gewandhaus Orchestra and Herbert Blomstedt, and Gaea with the WDR Sinfonieorchester and Bychkov in the Canary Islands. During 2003-04 she performed Mahler's Symphony No. 2 at the Lucerne Festival under Claudio Abbado and with the Orchestra of Santa Cecilia under Marc Wigglesworth, Bernstein's Jeremiah Symphony with the Philadelphia Orchestra and Christoph Eschenbach, a concert tour with the Gustav Mahler Jugendor- chester and Abbado, the Missa Solemnis with the London Philharmonic and Kurt Masur, and Das Lied von der Erde with the RSO Frankfurt under Daniel Harding, the Orchestra of Santa Cecilia under Myung-Whun Chung, and the Swedish Radio Symphony Orchestra under Wigglesworth. Her appearances under Claudio Abbado have also included Mahler's Symphony No. 3 with the Berlin Philharmonic in Carnegie Hall and on tour in Europe and Japan. Other engagements have included The Dream of Gerontius with Daniel Barenboim and the Chicago Symphony, Verdi's Requiem with Lorin Maazel and the Munich Philharmonic, concert performances as Erda in Das Rheingold with Christoph von Dohnanyi and the Cleveland Orchestra and with the Royal Stockholm Philharmonic under Alan Gilbert, and performances of Brahms's Alto Rhapsody with the Vienna Philhar- monic in Tokyo under Ozawa, the Berlin Philharmonic under Abbado, and the Los Angeles Philharmonic under Mehta. On the operatic stage she has been Erda in Das Rheingold and Siegfried with the Bayerische Staatsoper, the same role and the first Norn in Gbtter- ddmmerung at Staatsoper Berlin, Waltraute in Gbtterdammerung at Finnish National Opera, Orfeo in Orfeo ed Euridice at the Royal Opera Copenhagen, Ottone in Uincoronazione di Poppea in Aix-en-Provence, and Andronico in Tamerlano at the Drottningholm Court Theatre in Stockholm. Future engagements include Erda at the Aix-en-Provence Festival and the Salzburg Easter Festival with Sir Simon Rattle, Erda at the Wiener Staatsoper with Franz Welser-Most, Genevieve in Pelleas et Melisande at the Salzburg Easter Festival, and Dalila in Samson et Dalila in Stockholm. Ms. Larsson has recorded Brahms's Alto Rhapsody, Mahler's Second, Third, and Eighth symphonies and Des Knaben Wunderhorn, Beethoven's Missa Solemnis, and Strauss's Daphne.

48 .'.>

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Plus 41 other destinations in Canada, United States, Mexico, Barbados, Bermuda, United Arab Emirates, United Kingdom and Monaco. Sir Willard White (Creon) Born in Kingston, Jamaica, bass-baritone Willard White trained at the Jamaican School of Music and the Juilliard School. Since mak- ing his debut with New York City Opera, he has sung in the opera houses of San Francisco, London (both the Royal Opera, Covent Garden, and English National Opera), Munich, Amsterdam, Berlin, Geneva, Hamburg, Madrid, Paris, Los Angeles, and Brussels, as well as with the Metropolitan Opera and at the Glyndebourne, Aix-en-Provence, and Salzburg festivals. His appearances have included Golaud in Pelleas and Melisande in Amsterdam and San Francisco, where he also sang the title role in Messiaen's St. Frangois dAssise, Mephistopheles in Faust at the Bastille, the Peter Sellars productions of The Rakes Progress (Nick Shadow) and Oedipus Rex at the Chatelet in Paris, Mephisto- pheles in La Damnation de Faust and the title role in The Flying Dutchman for English National Opera, Nekrotzar in Le Grand Macabre at the Salzburg Festival and at the Chatelet, the title role in Boris Godunov for Welsh National Opera, the world premiere of John Adams's El Nino at the Chatelet, and further performances of El Nino with the San Francisco Symphony, the Deutsches Symphonie Orchester in Berlin, and in Los Angeles, New York, and London. Opera engagements last season included Wotan in Das Rheingold conducted by Sir Simon Rattle at the BBC Proms and in Baden-Baden; Fotis in The Greek Passion for the Royal Opera, Covent Garden, and in Brno; Nekrotzar for San Fran- cisco Opera; Mephistopheles with the Atlanta Symphony and New York Philharmonic; On the Town for English National Opera; and Tchelio in The Love for Three Oranges for Netherlands Opera. Willard White also sings regularly with the world's major orchestras, including the London Symphony, London Philharmonic, BBC Symphony, Halle, Royal Philharmonic, Concertgebouw, La Scala, Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, and Cleveland Orchestra; he has appeared many times at the BBC Proms. "An Evening with Willard White—A Tribute to Paul Robeson," performed with a small group of musicians and narrator, continues to be a huge success at festivals, has been shown on BBC television, and has now been issued on CD. His latest CD, "My Way," (Sony), was released in July 2005. Engagements in 2005-06 include A Child of Our Time at the BBC Proms, his debut as Marke in Tristan und Isolde at the Bastille Opera, Paris, Mephistopheles with the Rotterdam Philharmonic under Valery Gergiev and in Tokyo with Charles Dutoit, Wotan in Das Rheingold at the Aix-en-Provence Festival with Sir Simon Rattle, and Bluebeard's Castle with the Orchestre d'lle de France, as well as many concerts and recitals. Awarded the CBE in 1995, Willard White was knighted in the Queen's Birthday Honours in 2004. He has appeared with the Boston Symphony Orchestra on two previous occasions: in February 1985 making his BSO debut in Handel's Acis and Galatea, and in Beethoven's Missa Solemnis under Seiji Ozawa in October 2000.

Franz-Josef Selig (Tiresias) Making his Boston Symphony Orchestra debut this week, German bass Franz-Josef Selig studied singing with Claudio Nicolai at the Hochschule fur Musik Cologne, after earning his diploma there in sacred music. As a student he performed at the Aalto Theatre Essen, where he was awarded the Aalto Stage Award for Young Artists in 1992 and remained a permanent member until 1995. Guest engagements led him to such renowned companies as the Vienna State Opera, the Royal Opera House—Covent Garden, La Scala, Opera de la Bastille and Theatre du Chatelet in Paris, Metro- politan Opera, Theatre de la Monnaie in Brussels, Deutsche Oper Berlin, and the Bavarian State Opera in such roles as Sarastro, Komtur, Rocco, Osmin, King Marke, Daland, Arkel, and Gurnemanz. Highlights of the current season include Rheingold (Fasolt) at the Theatre du Chatelet under Christoph Eschenbach and Parsifal (Gurnemanz) at the Vienna State Opera. He began this year, marking the 250th anniversary

49 I-fl

of Mozart's birth, as Sarastro at Lyric Opera of Chicago. At the 2006 Salzburg Festival he appears as Bartolo in he nozze di Figaro during the opening of the "Haus fur Mozart" under Nikolaus Harnoncourt. Among his engagements for 2006-07 are performances in Vienna (Sarastro), Los Angeles (Landgraf Hermann in Tannhauser), Paris (Fiesco in Simon Boccanegra), and Hamburg (King Marke in Tristan und Isolde). Mr. Selig has appeared with such renowned conductors as Antonio Pappano, Riccardo Muti, Zubin Mehta, Marek Janowski, Herbert Blomstedt, Helmuth Rilling, Philippe Herreweghe, and Rene Jacobs. Current and future concert engagements include Mozart arias with the Staatskapelle Dresden under Sir Colin Davis; Mozart's Requiem in Paris (Orchestre de Paris) and Beethoven's Ninth Symphony in London (Philadelphia Orchestra), both under Christoph Eschenbach; the Missa Solemnis under Sir Colin Davis (London Symphony Orchestra); and a tour of Mozart's La Betulia liberata (Achior) under Nikolaus Harnoncourt. The year 2006 ends with Beethoven's Ninth Symphony with the Concertgebouw Orchestra under Mariss Jansons and with the Orchestre National de Lyon under Jun Markl. In addition to his numerous concert and opera engagements, Franz-Josef Selig enjoys giving recitals. With singers James Taylor, Christian Eisner, and Michael Voile, and Gerold Huber at the piano, he regularly performs "Liedertafel." Among his radio broadcasts and CDs are Busoni's Turandot (Emperor Altoum), Mozart's The Magic Flute (Sarastro), Requiem, and other sacred works, Bach's St. Matthew Passion (as Christ in Philippe Herreweghe's new recording on harmonia mundi) and B minor Mass, Handel's Judas Maccabaeus, Weber's Abu Hassan, and The Flying Dutchman with the Capella Coloniensis under Bruno Weil. He can been seen on DVD in Don Giovanni, The Magic Flute, Beethoven's Missa Solemnis (recorded on World Youth Day 2005 at Cologne Cathedral with the Royal Philharmonic Orchestra led by Gilbert Levine), and Beethoven's Symphony No. 9.

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50 Peter Bronder (Shepherd) gg Bk Tenor Peter Bronder made his Boston Symphony debut in February Jg^ BL 2005, as Master Peter in Falla's Master Peter's Puppet Show led by ft Rafael Friihbeck de Burgos. Born in Hertfordshire, England, of Klfl P German-Austrian parentage, Mr. Bronder studied at London's ' ^ r\ Royal Academy of Music and the National Opera Studio before JflT taking his first engagements at Glyndebourne and as principal tenor for Welsh National Opera. During this time he sang many leading roles in the Italian lyric repertoire, including roles in La boheme, Tosca, La traviata, Rigoletto, Lucia di Lammermoor, i); Maria Stuarda, Don Pasquale, I puritani, La sonnambula, and reai The Barber of Seville, as well as roles in The Magic Flute, Cost fan tutte, Eugen Onegin, Die Fledermaus, and Der Rosenkavalier (the Italian Tenor). Recently he has moved into the more dramatic, predominantly German repertoire, while retaining the lyrical qualities necessary for the Mozartean roles of Idomeneo and Titus, which he has performed at Glyndebourne. Notable recent successes have included Loge (Das Rheingold) for Scottish Opera (at the Edinburgh Festival) and Stuttgart Opera, Erik (Der fliegende Hollander) in France, his American debut with the Cleveland Orchestra as Mime (Siegfried), and his 2005 Metropolitan Opera debut in Falstajf. Apart from Glyndebourne, his work in Britain includes appearances with the Royal Opera, Covent Garden (Arturo in Lucia di Lammer- moor, Cassio in Otello, Pedrillo in Die Entfuhrung aus den Serail, the First Jew in Salome, Trabuco in Laforza del destino), English National Opera (Vanya in Kdtya Kabanovii, Almaviva in The Barber of Seville, the Italian tenor in Der Rosenkavalier, Alfred in Die Fledermaus, the Jailer in // prigioniero), Opera North (Prunier in La rondine, Hauptmann in Wozzeck, Alexander in II re pastore), and Scottish Opera (Rodolfo in La boheme, Leicester in Maria Stuarda, Loge in Das Rheingold). He has returned to Welsh National Opera for Iphigenie en Tauride, Falstajf, and Peter Grimes. Notable engagements abroad include the Bayerische Staatsoper Munich (Narraboth in Salome, Mazal in Mr. Broucek), Ernesto in Don Pasquale at Netherlands Opera, Pedrillo at La Monnaie in Brussels and San Fran- cisco Opera, Loge in Stuttgart, Herod in Salome at Flanders Opera and Frankfurt, Laca in Jenufa, and Bajazet in Tamerlano at the Komische Oper Berlin, and Dr. Caius in Falstajf &i the Chatelet in Paris. Future plans include Wozzeck and Lady Macbeth of Mtsensk at the Royal Opera House, Covent Garden, Das Rheingold and Siegfried at Flanders Opera, and Der Zwerg in Frankfurt. Peter Bronder has an extensive concert repertoire and has worked with Sir Richard Armstrong, Sir Andrew Davis, Sir Colin Davis, Christoph von Dohnanyi, Rafael Friihbeck de Burgos, Sir John Eliot Gardiner, Bernard Haitink, Richard Hickox, James Levine, Sir Charles Mackerras, Sir Roger Norrington, and Antonio Pappano. He has made numerous radio broadcasts, as well as numerous recordings for Chandos, Decca, DGG, EMI, Philips, and Teldec.

Clayton Brainerd (Messenger) Born in Portland, Oregon, baritone Clayton Brainerd has been acclaimed in leading roles under the baton of conductors includ- ing Seiji Ozawa, Michael Tilson Thomas, Charles Dutoit, Zdenek Macal, Jeffrey Tate, and Jesus Lopez-Cobos, and with major orches- tras and opera companies in Europe, New Zealand, Canada, North and South America, Korea, and Japan. Engagements for 2005-06 include returns to the Seatde Symphony and the Boston Symphony Orchestra. The 2004-05 season began with Elijah with the Mormon Tabernacle Choir, the War Requiem in Anchorage, Alaska, and Messiah with the Montreal Symphony. Mr. Brainerd also sang Wotan in Siegfried with New Orleans Opera and covered that role in five complete Ring cycles with Scottish Opera. In the spring and summer of 2005 he appeared as Hans Sachs in Die Meistersinger von Niirnberg with Berkeley Opera. Highlights of recent seasons include performances as Amonasro with Scottish Opera, cover performances as Gunther in

51 Gbtterdarnmerung at the Metropolitan Opera, and appearances as Wotan in Die Walkiire in the Scottish Opera's internationally acclaimed Ring cycle. He was awarded the coveted "Herald Angel Award" as one of the most outstanding performers at the Edinburgh Festival. Also with Scottish Opera he has appeared in Siegfried and in a complete Ring cycle. In 2001 Mr. Brainerd made his Paris Opera (Bastille) debut, singing La Damnation de Faust under Seiji Ozawa, and in Madrid sang the title role in a newly discovered opera, Merlin, by Isaac Albeniz. The season ended with another production of Die Walkiire with New Orleans Opera and Messiah at Carnegie Hall. Other highlights of recent seasons include replacing James Morris as Wotan in Die Walkiire at the Teatro Colon in Buenos Aires, and performances and the recording of excerpts from Mussorgsky's The Dream of the Peasant Grishko with the New Jersey Symphony under Zdenek Macal. Mr. Brainerd also sang Kurvenal in a performance and recording of Tristan und Isolde at Carnegie Hall with the Opera Orchestra of New York and Scarpia in Tosca with Teatro Arriaga in Bilbao, Spain. He made his New Zealand Symphony debut as Wotan in five concert performances of Das Rheingold, also earning acclaim for that role in Arizona Opera's 1997 Ring cycle. He has also sung Walkiire excerpts with the Cincinnati Symphony and Golaud in Pelleas et Melisande with the New Japan Philharmonic under Seiji Ozawa. Other performances with Ozawa have included Madama Butterfly in a concert staging with the Boston Sym- phony Orchestra (Mr. Brainerd's only previous BSO appearances, in February 1999, as the Bonze) and Damnation of Faust at the Saito Kinen Festival in Japan.

The Junior League of Boston's 34th Annual Decorators' Show House

The Richard Henry Dana Jr. House 4 Berkeley St., Cambridge, MA Harvard Square

Leading New England interior and landscape designers transform this magnificent 155-year-old home.

May 5 - June 4

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r i www.jlboston.org/showhouse2006 (617)536-9640x205 ffiflffl """" "Hiked -T ~\\~~trtr~r" Meet the designers on Tue & Sat, weekly

The Junior League of Boston is an organization of women committed to promoting voluntarism, developing the potential of women, and improving communities through the effective action and leadership of trained JL:rf volunteers. Its purpose is exclusively educational and charitable.

52 Philip Bosco (Narrator) One of America's most distinguished actors, Philip Bosco received the Tony Award as Best Actor for Lend Me a Tenor and Tony nomi- nations for Twelve Angry Men, Moon Over Buffalo, Heartbreak House, and The Rape of the Belt. He has also starred on Broadway in Chitty Chitty Bang Bang, Copenhagen, Twelfth Night, and An Inspector Calls, off-Broadway in Breaking Legs and Ancestral Voices, and for several seasons at Circle in the Square, Lincoln Center Theater, the Roundabout Theater, the New York Shakespeare Festival, and the American Shakespeare Festival. In 2003 he nar- rated Stravinsky's Oedipus Rex at the Metropolitan Opera under Valery Gergiev. He has also appeared with the New York Philharmonic in Berlioz's Beatrice et Benedict conducted by Sir Colin Davis and played the Starkeeper in Rodgers and Ham- merstein's Carousel in a symphonic concert version at Carnegie Hall opposite Hugh Jackman and Audra MacDonald, conducted by Leonard Slatkin. Mr. Bosco has appeared in thirty-seven films, including Working Girl, Children of a Lesser God, Blue Steel, Kate and Leopold, FX, Heaven Help Us, Three Men and a Baby, and Trading Places. He is currently shooting Savages, playing the father of Philip Seymour Hoffman and Laura Linney. Among his many other awards and honors are the Obie for Lifetime Achievement in the Theater, the Emmy Award, and induction into the Theater Hall of Fame at the Gershwin Theater in New York. Mr. Bosco makes his Boston Symphony Orchestra debut with this week's performances of Stravinsky's Oedipus Rex.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its thirty-fifth anniver- sary in the summer of 2005. In 2005-06 with the BSO at Symphony Hall the chorus performs Beethoven's Missa Solemnis and Ninth Symphony, Stravinsky's Symphony of Psalms, and Schoenberg's Gurrelieder with Music Director James Levine; Sir Michael Tippett's A Child of Our Time with Sir Colin Davis; Berlioz's Requiem with Rafael Friihbeck de Burgos, and, to close the season, Stravinsky's Oedipus Rex with Christoph von Dohnanyi. Last month the chorus performed Beethoven's Ninth Symphony with the BSO under Marek Janowski at Carnegie Hall in New York. The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Made up of members who donate their services, and originally formed for performances at the BSO's summer home, the Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston, New York, and at Tanglewood. The chorus has also performed with the Boston Symphony Orchestra in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings

WANTED! TENORS AND BASSES FOR "GURRELIEDER" AND "ELEKTRA" AT TANGLEWOOD, JULY 12-16

The TANGLEWOOD FESTIVAL CHORUS is looking for extra tenors and basses to perform with the chorus in this summer's performances under BSO Music Director James Levine of Schoenberg's Gurrelieder and Strauss's Elektra at Tanglewood on July 14 {Gurrelieder) and July 15 {Elektra). The residency at Tanglewood will be from Wednesday, July 12, until Sunday, July 16, preceded by rehearsals in May and June at Symphony Hall in Boston. For more information, please contact the Chorus Manager, Felicia Burrey, at [email protected] or call (617) 638-9311.

53 There really are enchanted evenings.

Puccini's Verdi's Mozart's MADAMA UN BALLO LE NOZZE BUTTERFLY IN MASCHERA Dl FIGARO

November 3-14, 2006 (A Masked Ball) (The Marriage of Figaro)

March 30 - April 10,2007 April 27 - May 8, 2007

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of three of the most beloved opera composers of all time.

Season tickets start at just $93 and are on sale now.

For a brochure, call (617) 542-6772 or visit www.blo.org

Operas feature projected English translation (surtitles)

All performances at The Shubert Theatre, 265 Tremont Street, Boston

Boston Lyric THE 30th ANNIVERSARY SEASON OPERA New England

54 under Ozawa and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the chorus performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and participat- ed in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's Ode to Joy. The Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert each summer in Seiji Ozawa Hall and performed its debut program at Jordan Hall at the New England Conservatory of Music in May 2004. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the choruses for performances led by Andre Previn of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He made his Boston Symphony conducting debut in August 1985 and led the orchestra most recently in July 1998.

Men of the Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its 35th anniversary last summer. In the following list, * denotes 35-year membership in the TFC and # denotes membership of 25 to 34 years.

Tenors Lynd Matt Robert J. Henry Brad W. Amidon Mark Mulligan David Kilroy James Barnswell Dwight E. Porter* John Knowles# John C. Ban- Peter Pulsifer William Koffel David P. Bergers Paul Rolanti G. P. Paul Kowal Daniel E. Brooks Kenneth D. Silber Bruce Kozuma Paulo Cesar Carminati Arend Sluis Timothy Lanagan Stephen Chrzan Peter L. Smith James Mangan Andrew Crain Christopher Storer Eryk P. Nielsen Tom Dinger Stratton P. Vitikos Stephen H. Owades*

Kevin F. Doherty, Jr. David Perkins Keith Erskine Basses Steven Ralston Len Giambrone Kevin Ashworth Peter Rothstein#

J. Stephen Groff Rishi K. Basu Gregory Sands Mark H. Haddad Kirk Chao Karl Josef Schoellkopf John W. Hickman Matthew E. Crawford Rob Springer Stanley Hudson Arthur M. Dunlap Luke Thompson Timothy Jarrett Jeff Foley Bradley Turner James R. Kauffman Peter Fricke Thomas C. Wang

Marc J. Kaufman Jim Gordon Terry L. Ward Thomas Kenney Jay Gregory Matthew Wright Lance Levine Mark L. Haberman Ronald Lloyd Jeramie D. Hammond

Felicia A. Burrey, Chorus Manager Meryl Atlas, Assistant Chorus Manager Frank Corliss and Martin Amlin, Rehearsal Pianists Livia Racz, Latin Language Coach

55 HI - , -<'-•.'•.• SwbT

2005-2006 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 2005-2006 SUBSCRIPTION SEASON

bart6k Concerto for Orchestra BEETHOVEN Concerto in C for piano, violin, and cello, Opus 56 15 JONATHAN BISS, piano; MIRIAM FRIED, violin; RALPH KIRSHBAUM, cello Coriolan Overture, Opus 62 6 Missa Solemnis in D, Opus 123 12 CHRISTINE BREWER, soprano; JILL GROVE, mezzo-soprano; BEN HEPPNER, tenor; REN£ PAPE, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 1 in C, Opus 15 23 PIOTR ANDERSZEWSKI, piano Symphony No. 2 in D, Opus 36 15 Symphony No. 7 in A, Opus 92 15 Symphony No. 9 in D minor, Opus 125 18 CHRISTINE BREWER, soprano; JILL GROVE, mezzo-soprano; CLIFTON FORBIS, tenor; ALBERT DOHMEN, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BERLIOZ Le Corsaire Overture, Opus 21 1 Requiem (Grande Messe des morts), Opus 5 22 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; MATTHEW POLENZANI, tenor Symphonie fantastique, Episode from the life of an artist, Opus 14 11 BRAHMS Symphony No. 4 in E minor, Opus 98 20 Violin Concerto in D, Opus 77 24 FRANK PETER ZIMMERMANN, violin BRUCKNER Symphony No. 7 in E 10 CARTER Boston Concerto Three Illusions (world premiere; BSO 125th anniversary commission) DAWE The Flowering Arts 11 (world premiere; BSO 125th anniversary commission) DEBUSSY Jeux—Poeme danse

La Mer, Three symphonic sketches 7, UBS (Nov. 18) Prelude a VApres-midi d'unfaune 13 DUTILLEUX Symphony No. 2, Le Double FOSS Time Cycle, Four Songs for Soprano and Orchestra DAWN UPSHAW, soprano

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58 GERSHWIN Piano Concerto in F JEAN-YVES THIBAUDET, piano HENZE Adagio, Fugue, and Maenads' Dance 24 from the opera The Bassarids (American premiere) IVES Three Places in New England 2 LIEBERSON Neruda Songs for Mezzo-Soprano and Orchestra 8 (BSO 125th anniversary commission; co-commissioned by the BSO and the Los Angeles Philharmonic) LORRAINE HUNT LIEBERSON, mezzo-soprano LIGETI Concert Romdnesc (Romanian Concerto) 19 MAHLER Symphony No. 4 in G 8 HEIDI GRANT MURPHY, soprano Symphony No. 6 in A minor 14 MENDELSSOHN Symphony No. 3 in A minor, Opus 56, Scottish 3 MILHAUD Le Boeufsur le toit, Opus 58 1 MOZART Piano Concerto No. 23 in A, K.488 13 RICHARD GOODE, piano Violin Concerto No. 5 in A, K.219 21 GIL SHAHAM, violin Serenade No. 6 in D, K.239, Serenata notturna 21 Serenade No. 9 in D, K.320, Posthorn 5 Symphony No. 35 in D, K.385, Hajfner 7, UBS (Nov. 18) Symphony No. 39 in E-flat, K.543 21 Symphony No. 41 in C, K.551, Jupiter 25 MUSSORGSKY Prelude to the opera Khovanshchina 20 PERLE Transcendental Modulations 7, UBS (Nov. 18) RAVEL Alborada del gracioso 13 ROUSSEL Symphony No. 3, Opus 42 13 SAARIAHO Nymphea Reflection 23 SAINT-SAENS

Symphony No. 3 in C minor, Opus 78 (Organ Symphony) 1 SIMON PRESTON, organ

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SCHNITTKE Concerto grosso No. 5, for violin and orchestra 6 GIDON KREMER, violin SCHOENBERG Five Pieces for Orchestra, Opus 16 16 Chamber Symphony No. 1, Opus 9B (orchestral version) 18 Gurrelieder 1 KARITA MATTILA, soprano (Tove); LORRAINE HUNT LIEBERSON, mezzo-soprano (Wood Dove); JOHAN BOTHA, tenor (Waldemar); PAUL GROVES, tenor (Klaus Narr); ALBERT DOHMEN, bass-baritone (Peasant); WALDEMAR KMENTT, tenor (Speaker); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Pelleas und Melisande, Opus 5, Symphonic poem 16 after Maeterlinck's drama Variations for Orchestra, Opus 31 16 SCHUBERT Symphony in B minor, D.759, Unfinished 24 SCHULLER Spectra 7 SCHUMANN Cello Concerto in A minor, Opus 129 19 YO-YO MA, cello Piano Concerto in A minor, Opus 54 3 ANDREAS HAEFLIGER, piano Symphony No. 4 in D minor, Opus 120 11 SHOSTAKOVICH Symphony No. 8 in C minor, Opus 65 4 SIBELIUS The Bard, Tone poem, Opus 64 23 Symphony No. 3 in C, Opus 52 23 Violin Concerto in D minor, Opus 47 4 JULIA FISCHER, violin STRAUSS Ein Heldenleben, Tone poem, Opus 40 19 Till Eulenspiegels Merry Pranks, Opus 28 8 STRAVINSKY Oedipus Rex 25 STUART SKELTON, tenor (Oedipus); ANNA LARSSON, mezzo-soprano (Jocasta); SIR WILLARD WHITE, baritone (Creon); FRANZ-JOSEF SELIG, bass (Tiresias); PETER BRONDER, tenor (Shepherd); CLAYTON BRAINERD, bass-baritone (Messenger); PHILIP BOSCO, narrator; MEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony of Psalms 9 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor TAN DUN Water Concerto 10 CHRISTOPHER LAMB, percussion TCHAIKOVSKY Violin Concerto in D, Opus 35 20 JOSHUA BELL, violin

61 Symphony No. 5 in E minor, Opus 64 TIPPETT A Child of Our Time INDRA THOMAS, soprano; CATHERINE WYN-ROGERS, mezzo-soprano; PAUL GROVES, tenor; ALASTAIR MILES, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor WEBER Overture to Oberon

OPENING NIGHT September 30, 2005, at 6:30 p.m. JAMES LEVINE, conductor SIMON PRESTON, organ

BERLIOZ Le Corsaire Overture, Opus 21 DEBUSSY Jeux—Poeme danse MILHAUD Le Boeufsur le toil, Opus 58 SAINT-SAENS Symphony No. 3 in C minor, Opus 78 (Organ Symphony)

CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 2005-2006 SEASON Week

JAMES LEVINE, Music Director 1,2,7,8,9,11,12, 15, 16, 17, 18*,

Carnegie Hall I, II

JENS GEORG BACHMANN 3, 18t PAAVO BERGLUND 4 SIR COLIN DAVIS 5 CHRISTOPH VON DOHNANYI 24,25 RAFAEL FRUHBECK DE BURGOS 21,22 BERNARD HAITINK 13, 14 MANFRED HONECK 6 EMMANUEL KRIVINEt 20 MAREK JANOWSKI§ Carnegie Hall III KURT MASUR 10 DAVID ROBERTSON March 2006 tour§; 19 ROBERT SPANO 23

*conducted only on March 1 'replacing James Levine on March 2, 3, and 4 ^replacing Yuri Temirkanov §replacing James Levine

62 Kffifi•'••.I Wxsmmm

SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2005-2006 SUBSCRIPTION SEASON Week PIOTR ANDERSZEWSKI, piano 23 JOSHUA BELL, violin 20 JONATHAN BISS, piano 15 PHILIP B0SC0, narrator 25 J0HAN BOTHA, tenor 17 CLAYTON BRAINERD, bass-baritone 25 CHRISTINE BREWER, soprano 12*, 18 PETER BRONDER, tenor 25 ALBERT DOHMEN, bass-baritone 17, 18 JULIA FISCHER, violin 4 CLIFTON FORBIS, tenor 18 MIRIAM FRIED, violin 15 RICHARD GOODE, piano 13 JILL GROVE, mezzo-soprano 12T, 18 PAUL GROVES, tenor 5, 17 ANDREAS HAEFLIGER, piano 3 BEN HEPPNER, tenor 12 RALPH KIRSHBAUM, cello 15 WALDEMAR KMENTT, tenor 17 GIDON KREMER, violin 6 CHRISTOPHER LAMB, percussion 10 ANNA LARSSON, mezzo-soprano 25 LORRAINE HUNT LIEBERSON, mezzo-soprano 8, 17 YO-YO MA, cello 19 KARITA MATTILA, soprano 17 ALASTAIR MILES, bass 5 HEIDI GRANT MURPHY, soprano§ 8 RENfi PAPE, bass 12 MATTHEW POLENZANI, tenor 22 SIMON PRESTON, organ 1 FRANZ-JOSEF SELIG, bass 25 GIL SHAHAM, violin 21 STUART SKELTON, tenor 25 JEAN-YVES THIBAUDET, piano 2 INDRA THOMAS, soprano 5 DAWN UPSHAW, soprano 2 SIR WILLARD WHITE, baritone 25 CATHERINE WYN-ROGERS, mezzo-soprano 5 FRANK PETER ZIMMERMANN, violin 24

TANGLEWOOD FESTIVAL CHORUS, 5, 9, 12, 17 JOHN OLIVER, conductor 18, 22, 25

*replacing Deborah Voigt 'replacing Lorraine Hunt Lieberson §replacing Dorothea Roschmann

63 ADDITIONAL "JAMES LEVINE SERIES" CONCERTS AT SYMPHONY HALL

January 22, 2006 JAMES LEVINE, piano and conductor ANJA SILJA, soprano BEN HEPPNER, tenor* BOSTON SYMPHONY CHAMBER PLAYERS

BEETHOVEN An die feme Geliebte, Opus 98, for tenor and piano BEETHOVEN Quintet in E-flat for piano and winds, Opus 16 SCHOENBERG Six Little Piano Pieces, Opus 19 SCHOENBERG Pierrot Lunaire, Opus 21, for soprano and chamber ensemble

*replacing Matthew Polenzani

February 26, 2006 (rescheduled from February 12, 2006, due to snowstorm) JAMES LEVINE, conductor JONATHAN BISS, piano MIRIAM FRIED, violin RALPH KIRSHBAUM, cello

ALL- Symphony No. 2 in D, Opus 36 BEETHOVEN Triple Concerto in C for piano, violin, and cello, Opus 56 PROGRAM Symphony No. 7 in A, Opus 92

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THREE-CONCERT SERIES AT CARNEGIE HALL

CARNEGIE HALL I Monday, October 10, 2005, at 8 p.m. JAMES LEVINE, conductor DAWN UPSHAW, soprano JEAN-YVES THIBAUDET, piano IVES Three Places in New England FOSS Time Cycle, Four Songs for Soprano and Orchestra CARTER Three Illusions GERSHWIN Piano Concerto in F

CARNEGIE HALL II Monday, November 28, 2005, at 8 p.m. JAMES LEVINE, conductor HEIDI GRANT MURPHY, soprano* (Mahler) LORRAINE HUNT LIEBERSON, mezzo-soprano (Lieberson)

STRAUSS Till Eulenspiegels Merry Pranks, Opus 28 LIEBERSON Neruda Songs for Mezzo-Soprano and Orchestra MAHLER Symphony No. 4 in G

*replacing Dorothea Roschmann

CARNEGIE HALL III

Monday, March 6, 2006, at 8 p.m. MAREK JANOWSKI, conductor* CHRISTINE BREWER, soprano JILL GROVE, mezzo-soprano CLIFTON FORBIS, tenor ALBERT DOHMEN, bass-baritone

SCHOENBERG Chamber Symphony No. 1, Opus 9B (orchestral version) BEETHOVEN Symphony No. 9 in D minor, Opus 125

*replacing James Levine

THE BOSTON SYMPHONY ORCHESTRA'S 2006 FOUR-CITY TOUR

Tuesday, March 7, 2006, at 8 p.m. (Orchestra Hall, Chicago, IL) Thursday, March 9, 2006, 7:30 p.m. (New Jersey Performing Arts Center, Newark, NJ) Friday, March 10, 2006, 8 p.m. (Verizon Hall, Philadelphia,. PA) Saturday, March 11, 2006, 4:30 p.m. (Kennedy Center, Washington, DC) DAVID ROBERTSON, conductor* LORRAINE HUNT LIEBERSON, mezzo-soprano

STRAUSS Till Eulenspiegels Merry Pranks, Opus 28 LIEBERSON Neruda Songs for Mezzo-Soprano and Orchestra CARTER Three Illusions for Orchestra BEETHOVEN Symphony No. 7 in A, Opus 92

*replacing James Levine

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WORKS PERFORMED IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2005-2006 SUBSCRIPTION SEASON Week BACH/TRADITIONAL Bach Reels in His Grave 19A BEETHOVEN String Quartet No. 2 in G, Opus 18, No. 2 12 Serenade in D for violin, viola, and cello, Opus 8 17

BRISENO (arr. GOLIJOV) El Sinaloense 19A CARROLL Catherine Kelly's—Lake Effect (Slip Jig and Reel) 19A The Ghost—The Hatchlings—The Longbow (Tune and Jigs) DEBUSSY Sonata for flute, viola, and harp DEVIENNE Quartet in C for bassoon, violin, viola, and cello, Opus 73, No. 1 17 faur£ Apres un Reve, Opus 7, song for voice and piano (arr. Pablo Casals; 7 performed on cello and harp) Sicilienne, Opus 78, for cello and piano (harp arr. Dewey Owens) 7

67 m FRANgAIX UHeure du berger, for piano and wind quintet 3 GARFIELD Quartet for bassoon, violin, viola, and cello 17 HANDEL Passacaglia, arranged for violin and viola by Johan Halvorsen 5A JAKOULOV Chant, for violin and viola (world premiere) 25

LARA (arr. GOLIJOV) Se me hizafacil 19A

LECUONDA (arr. GOLIJOV) Tabu 19A MENDELSSOHN String Quartet No. 1 in E-flat, Opus 12 12 MOZART Flute Quartet in A, K.298 7 String Quintet in G minor, K.516 25 Trio in E-flat for violin, viola, and cello, K.563 5A PERSICHETTI Serenade No. 10, Opus 79, for flute and harp 7 POULENC Sextet for piano and wind quintet 3 RAVEL Le Tombeau de Couperin, arranged for woodwind quintet by Mason Jones 3 ROSSINI Duetto in D for cello and double bass 19A SAINT-SAENS Caprice on Danish and Russian Airs, for piano and wind quintet, Opus 79 3 SCHULHOFF Duo for Violin and Cello 14

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68 STRAVINSKY Three Pieces for String Quartet 25 TANSMAN Suite for Wind Trio 3 TCHAIKOVSKY Piano Trio in A minor, Opus 50 14 TRADITIONAL Roslins Castle (Air) 19A Flood on the Holm—The Ashplant—Phil Murphy s—Franks Reel (Reels) 19A

PERFORMERS IN SYMPHONY HALL PRELUDE CONCERTS, CHAMBER MUSIC TEAS, AND COMMUNITY CONCERTS DURING THE 2005-2006 SUBSCRIPTION SEASON Week

MATTHEW ALLEN, guitar 19A ROBERT BARNES, viola 17 BONNIE BEWICK, violin 19A YA-FEI CHUANG, piano 3 TATIANA DIMITRIADES, violin 19A RACHEL FAGERBURG, viola 19A CATHERINE FRENCH, violin 7 REBECCA GITTER, viola 5A IAN GREITZER, clarinet 3 HAWTHORNE STRING QUARTET 12 (RONAN LEFKOWITZ and SI-JING HUANG, violins; MARK LUDWIG, viola; SATO KNUDSEN, cello) MIHAIL JOJATU, cello 5A ELITA KANG, violin 5A MICKEY KATZ, cello 17, 25 BENJAMIN LEVY, double bass 19A LUCIA LIN, violin 14 KAZUKO MATSUSAKA, viola 7 JONATHAN MILLER, cello 7 IKUKO MIZUNO, violin 17 MARVIN MOON, viola 25 ELIZABETH OSTLING, flute 3, 7 ANN HOBSON PILOT, harp 7 RICHARD RANTI, bassoon 3, 17 SERGEY SCHEPKIN, piano 14 RICHARD SEBRING, horn 3 VYACHESLAV URITSKY, violin 25 ALEXANDER VELINZON, violin 25 KEISUKE WAKAO, oboe 3 OWEN YOUNG, cello 14, 19A MICHAEL ZARETSKY, viola 25

69

%su"t\ BOSTON SYMPHONY CHAMBER PLAYERS 2005-2006 Subscription Season Four Sunday Afternoons at 3 p.m. in Jordan Hall at New England Conservatory

October 28, 2005 BEETHOVEN Octet in E-flat for winds, Opus 103 GANDOLFI Plain Song, Fantastic Dances (world premiere; commissioned for the Boston Symphony Chamber Players by the St. Botolph Club in celebration of the Club's 125th anniversary) BEETHOVEN Sextet in E-flat for two horns and string quartet, Opus 81b GOUNOD Petite Symphonie for winds

January 8, 2006 with LUDOVIC MORLOT, conductor (Stravinsky and Copland)

J.S. BACH Brandenburg Concerto No. 3 in G, BWV 1048 COPLAND Quiet City, for trumpet, oboe, and strings STRAVINSKY Concerto in E-flat, Dumbarton Oaks COPLAND Appalachian Spring (original chamber version for thirteen instruments)

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70 March 26, 2006 with GIL ROSE, conductor (Hindemith) ORFF Kleines Konzert on Lute Pieces from the Sixteenth Century, for flute and piccolo, oboe, bassoon, trumpet, trombone, harpsichord, and percussion HINDEMITH Kammermusik No. 1, Opus 24, for twelve solo instruments SCHUBERT String Quintet in C, D.956

April 30, 2006 with DENNIS JAMES, glass harmonica

ALL- Flute Quartet in A, K.298 MOZART Adagio and Rondo in D for glass harmonica, flute, PROGRAM oboe, viola, and cello, K.617 Quintet in E-flat for horn and strings, K.407(386c) Clarinet Quintet in A, K.581

ARTICLES/FEATURES PRINTED IN THE BOSTON SYMPHONY ORCHESTRA PROGRAM BOOK DURING THE 2005-2006 SUBSCRIPTION SEASON Week

Renovating a Symphony Hall Treasure, by Michael Foley Opening Night A Brief History of the Boston Symphony Orchestra Opening Night, 1,2,6, 10, 11, 18

A Brief History of Symphony Hall 1, 2, 3, 4, 5, 7, 10, 11, 19,21 Works Commissioned by the Boston Symphony Orchestra 9 Interlude: Bela Bartok, Serge Koussevitzky, and the Concerto for Orchestra, 9 by Steven Ledbetter Postlude: Bela Bartok's Two-Second Revolution, by Douglas Yeo 9 James Levine on the BSO's Beethoven/Schoenberg Cycle 12, 13, 14, (Interview with Marc Mandel) 15, 16, 17, 18 Beethoven, Religion, and the Missa Solemnis 12 Prologue from Beethoven, the Universal Composer, by Edmund Morris 15 What to Make of Beethoven's Triple Concerto? by Marc Mandel 15 Writings About Schoenberg, from Arnold Schoenbergs Journey, 16 by Allen Shawn Listening to Schoenberg, by Michael Steinberg 17 Casts of Character: The Symphony Statues, by Caroline Taylor 19, 20, 21 Franz Schubert, "A Rich Possession," by Michael Steinberg 24

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71 Play a supporting role

in the BSO's 125th season

THIS SEASON, Music Director James Levine and the Boston Symphony Orchestra celebrate the BSO's 125 years of tradition and innovation.

You can help Maestro Levine and every member of the Orchestra reach new heights of musical artistry during this landmark season by becoming a Friend of the Boston Symphony Orchestra.

The Orchestra depends on the generosity of its patrons to provide

critical financial support to maintain the BSO's place as one of the world's leading symphonic organizations; ticket sales and other earned income cover less than 60 percent of the BSO's operating

expenses. Your contribution will support Maestro Levine's artistic plans and the BSO's ongoing education and community outreach programs.

To make a gift, call the Friends of the BSO Office at (617) 638-9276 or visit us online at www.bso.org. - ' ISO

Great Benefactors

In the building of his new symphony for Boston, the BSO's founder and first bene- factor, 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 donations 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 permanent recogni- tion as Great Benefactors of this great orchestra. For more information, contact Nancy Baker, Director of Major and Planned Giving, at (617) 638-9265.

Anonymous (13) Susan Morse Hilles Trust Mr. and Mrs. Harlan E. Anderson Estate of Edith C. Howie

Dorothy and David B. Arnold, Jr. John Hancock Financial Services AT&T Mr. and Mrs. Harvey Chet Krentzman Bank of America The Kresge Foundation

Mr. and Mrs. J. P. Barger Liz and George Krupp

Mr. and Mrs. George D. Behrakis Mr. and Mrs. R. Willis Leith, Jr. Gabriella and Leo Beranek Liberty Mutual Foundation, Inc. George and Roberta Berry Mr. and Mrs. Edward H. Linde Jan Brett and Joseph Hearne Nancy Lurie Marks Foundation Peter and Anne Brooke Kate and Al Merck Catherine and Paul Buttenwieser Mr. and Mrs. Nathan R. Miller Chiles Foundation The Richard P. and

Mr. John F. Cogan, Jr., and Claire W. Morse Foundation Ms. Mary L. Cornille William Inglis Morse Trust Mr. Julian Cohen National Endowment For Arts Commonwealth of Massachusetts NEC Corporation Mr. and Mrs. William H. Congleton Mrs. Robert B. Newman Country Curtains Mrs. Mischa Nieland and John and Diddy Cullinane Dr. Michael Nieland Lewis S. and Edith L. Dabney Megan and Robert O'Block Mr. and Mrs. Stanton W. Davis Mr. and Mrs. Norio Ohga Estate of Mrs. Pierre de Beaumont William and Lia Poorvu Estate of Elizabeth B. Ely Carol and Joe Reich EMC Corporation Susan and Dan Rothenberg John P. II and Nancy S. Eustis Estate of Wilhelmina C. Sandwen The Fairmont Copley Plaza and Dr. Raymond and Hannah H. Schneider Fairmont Hotels & Resorts Carl Schoenhof Family Shirley and Richard Fennell Kristin and Roger Servison

Fidelity Investments Ruth and Carl J. Shapiro Estate of Verna Fine Miriam Shaw Fund Estate of Anna E. Finnerty Ray and Maria Stata Mr. and Mrs. John H. Fitzpatrick Mr. Thomas G. Sternberg Germeshausen Foundation Miriam and Sidney Stoneman The Ann and Gordon Getty Estate of Elizabeth B. Storer Foundation Diana Tottenham Estate of Marie L. Gillet Stephen and Dorothy Weber The Gillette Company Roberta and Stephen R. Weiner Mrs. Donald C. Heath The Helen F. Whitaker Fund Estate of Francis Lee Higginson Mr. and Mrs. John Williams

73

S3 0506

Big Band

FRIDAY MAY 26, 2006 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY 30 GAINSBOROUGH ST., AT HUNTINGTON AVE.

Program Notes at 7:00

with William Thomas McKinley i

I .

In this all-American program, BMOP pays tribute

to Paul Whiteman and others who brought jazz

to the concert hall with the world premiere of

STOLTZMAN a new work by WILLIAM THOMAS McKINLEY

for clarinetist Richard Stoltzman and the original

jazz band version of GEORGE GERSHWIN'S

Rhapsody in Blue with Stephen Drury. Program

also features works by LEONARD BERNSTEIN and

MILTON BABBITT

GIL ROSE, conductor

SAVE

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74 MB

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BOSTON SYMPHONY ORCHESTRA 2005-2006 SEASON

alter Piston Society

Walter Piston (1894-1976), who endowed the Principal Flute chair with a bequest, was a Pulitzer Prize-winning composer and noted musician. The Walter Piston Society was established in his name to honor those who have made life-income gifts and/or bequests to the Boston Symphony Orchestra, Tanglewood, or the Boston Pops.

During the 2004-2005 season, members of the Walter Piston Society generously contributed more than $4.8 million to the endowment and operating budget through life-income gifts and bequests.

If you would like more information on becoming a member, or if you find that your name is not listed and should be, please call Nicole Leonard, Assistant Manager of Planned Giving, at (617) 638-9262 or (888) 244-4694.

Anonymous (29) Mrs. Ben Beyea Mr. and Mrs. Abram T. Mrs. Herbert Abrams Benjamin S. Blake Collier Ms. Eunice Alberts Mrs. Anne C. Booth Mr. and Mrs. Marvin A. Mr. Vernon R. Alden Dr. Nancy A. Bord Collier Miss Rosamund W. Mrs. John M. Bradley Dr. Michael T. Corgan Allen Mrs. Alice C. Brennan and Sallie Riggs Mr. and Mrs. William A Ms. Jan Brett and Corgan Along Mr. Joseph Hearne Ms. Rebecca T. Coup

Mrs. James B. Ames Ruth and Alan J. Broder Mr. and Mrs. F. Brooks Mrs. Rae D. Anderson Mr. and Mrs. Peter A. Cowgill Dorothy and David Brooke Mr. and Mrs. Ronald C. Arnold Phyllis Brooks Curhan Dr. David M. Aronson Mr. and Mrs. E. B. Mrs. Edith L. Dabney Miss Eleanor Babikian Brown Mrs. David Dangel Mr. Henry W. D. Bain Michael Buonsanto Mr. Eugene M. Mr. and Mrs. Sherwood Mr. Richard-Scott S. Darling, Jr. E. Bain Burow Mr. and Mrs. Nelson J. Mr. Donald Ball Mrs. Mary L. Cabot Darling, Jr. Dr. and Mrs. Richard Ms. Edith W. Campbell Ms. Maud S. Davis Balsam Mr. Charles Christenson Tamara P. and Charles Ms. Rosemarie Basile Ms. Phyllis E. Clark H. Davis II

Mr. Joseph C. Beaudoin Ms. Deborah P. Clark Mr. Henry B. Dewey Mr. and Mrs. Herman Kathleen G. and Mr. Robert Djorup Becker Gregory S. Clear Mr. and Mrs. Eugene B. Doggett Robert Michael Beech Mr. Stewart Clifford, Jr. Dr. Donnenfeld Gabriella and Leo John F. Cogan, Jr., and O.W. Beranek Mary Cornille Mr. and Mrs. Norman Mr. Ralph Berkowitz Mrs. Aaron H. Cole Dorian Deborah Davis Berman David Bruce Cole Harriett M. Eckstein George and Joan Berman Dr. and Mrs. James C. Miss Mary C. Eliot Mr. William I. Bernell Collias Mrs. Richard S. Emmet

Continued on page 77

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76 *

1 Wits. ^H 1 wv » •'* ^ •-.<> '

. -.; HH . , i HnflBBEll

Walter Piston Society (continued)

Mrs. Henri A. Erkelens Mr. and Mrs. Roger H. George H. Kidder John W. Erwin Hallowell, Jr. Ms. Marsha A. Klein

Lillian K. Etmekjian Mr. Michael A. Mr. Mason J. 0. Klinck, Mr. David H. Evans Halperson Sr. Ms. Marilyn Evans Margaret L. Hargrove Ms. Kathleen Knudsen Mrs. Samuel B. Mr. and Mrs. G. Neil Audrey Noreen Koller Feinberg Harper Joan H. Kopperl

Mr. Gaffney J. Feskoe Mr. Warren Hassmer Mr. and Mrs. Robert K. C. Peter and Bev A. Mr. and Mrs. Francis W. Kraft Fischer Hatch Mrs. Harvey Chet Mr. Stuart M. Fischman Deborah Hauser Krentzman Mr. L. Antony Fisher Mr. Harold A. Hawkes Mr. George F. Krim Ms. Dorothy M. Fitch Mr. Robert R. Hayward Dr. Robert Lee and Mr. John H. Munier Julie and Bayard Henry Mrs. Shirley Lefenfeld

Janet P. Fitch Miss Roberta G. Hill Mr. and Mrs. R. Willis

Mr. and Mrs. John H. Mr. James G. Hinkle, Jr. Leith, Jr.

Fitzpatrick Mrs. Richard B. Hirsch Mrs. Vincent J. Elaine Foster Mr. John Hitchcock Lesunaitis Mr. and Mrs. Dean W. Eloise W. and Arthur C. Dr. Audrey A. Lewis Freed Hodges Mrs. T. Herbert Dr. Joyce B. Friedman Mr. James W Hoerle Lieberman Mr. William H. Ganick Joan and Peter Hoffman Mrs. George R. Lloyd David Endicott Gannett Mrs. Marilyn Brachman Diane H. Lupean Mr. Gabor Garai and Hoffman Kathryn H. Lupean Ms. Susan Pravda Mr. and Mrs. Howard K. Mrs. Jane C. Lyman Mrs. James G. Garivaltis Holladay Mrs. John D.

Mrs. Henry C. Gill, Jr. M.A.B. Holmes MacDonald Mr. and Mrs. Leonard Ms. Emily C. Hood Mr. and Mrs. Donald

Gilman Mr. Thomas P. Hosmer Malpass, Jr. Mrs. Joseph Glasser Mr. Charles A. Ruth G. Mandalian Susan Godoy Hubbard II Irma S. Mann Thelma and Ray Mr. and Mrs. F Donald Mr. Russell E. Goldberg Hudson Marchand

Ms. Claire Goldman Mr. Holcombe A. J. Jay Marks Mr. Mark R. Goldweitz Hughes Mrs. Nancy Lurie Marks Hugo and Midge Golin Mr. and Mrs. Joseph Miss Charlotte N. May Hon. Jose A. Hyman Mrs. Barbara

Gonzalez, Jr., and Janet S. Isenberg McCullough Mary Copeland Emilie K. Jacobs Mrs. Richard M. Gonzalez Mr. and Mrs. David McGrane Jane W and John B. Jeffries Mr. and Mrs. David Goodwin Mr. and Mrs. H. E. Jones McKearnan Mrs. Clark H. Gowen Edna S. and Bela T. Mrs. Willard W McLeod, Mr. and Mrs. Daniel S. Kalman Jr. (Patricia B.)

Gregory Dr. Alice S. Kandell Mr. and Mrs. Russell P. Mr. Howard R. Grimes Renee and Stan Katz Mead Dr. and Mrs. Herbert A. Mr. and Mrs. Richard L. Dr. Joel Melamed Haessler Kaye Mr. Richard P. Menaul

Continued on page 79

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78 Walter Piston Society (continued)

Mrs. August R. Meyer Mrs. David R. Pokross Miss Alice M. Seelinger

Dr. Martin C. Mihm, Jr. Mr. Peter J. Previte Mr. and Mrs. Roland E. Mr. Sumner Milender Dr. Robert 0. Preyer Shaine and Ms. Edith Ms. Carol A. Procter Mr. Wolf Shapiro Michelson Mrs. Daphne Brooks Mrs. Robert L. Sharp Mr. and Mrs. Nathan R. Prout Dr. Richard M. Shiff

Miller Mrs. Millard H. Pryor, Jr. Trust Mrs. Beverly F. Mills Miss Lillian A. Purdy Mrs. Jane Silverman Mrs. Elting E. Morison Irving W. Rabb Mr. and Mrs. Robert L. Richard P. Morse and Herbert Rakatansky MD Singleton Claire W. Morse and Barbara Sokoloff Barbara F. Sittinger Mrs. Wells Morss Peter and Suzanne Read Dr. and Mrs. Jan P. Mr. James Edward John S. Reidy Skalicky Mulcahy Professor Josephine R. Doctors Jane Slaughter Mrs. Robert M. Mustard Reiter and Firmon E. Ms. Katharine S. Nash Robert and Ruth Remis Hardenbergh

Anne J. Neilson Marcia and Norman Mr. and Mrs. Mrs. K. Fred Netter Resnick Christopher E. Smith Mrs. Robert B. Newman Barbara Rimbach Mrs. WD. Sohier Alan A. and Barbara Dr. and Mrs. Edmond Mrs. Joseph P. Solomon Nicoll Rittner Drs. Norman Solomon

Mrs. Mischa Nieland Elizabeth P. Roberts and Merwin Geffen Michael L. Nieland MD Mr. and Mrs. David Mr. and Mrs. Harold

Koko Nishino Rockefeller, Jr. Sparr

Carol J. Noyes Dr. J. Myron Rosen Mrs. Nathaniel H. Mrs. Louise C. Noyes- Mr. and Mrs. Jerome Sperber Balboni Rosenfeld Mr. Thomas A. Stalker Dr. Peter Ofner Mr. James L. Roth Ray and Maria Stata Mrs. Stephen Davies Mrs. George R. Rowland Dr. Harold J. Stein and Paine Dr. Jordan S. Ruboy Kay E. Stein Mrs. Marion S. Palm Mr. Paul W. Runge Shirley and Al Steiner Dr. and Mrs. Egidio Papa Mr. Robert Saltonstall Mr. Thomas G. Sternberg Catherine Lillios Pappas Mr. Robert M. Sanders Miss Marylen R.I. Ms. Mary B. Parent Mr. Stephen Santis Sternweiler Mrs. Jack S. Parker Ms. Carol Scheifele- Mr. Josiah Stevenson IV Dr. and Mrs. Oglesby Holmes and Mr. Ben Miss Ruth Elsa Stickney Paul L. Holmes Mrs. Patricia Hansen Mr. and Mrs. John B. Dr. Raymond and Strang Pepper Hannah H. Schneider Mr. and Mrs. Jonathon Mr. and Mrs. John A. Dr. and Mrs. Leslie R. D. Sutton Perkins Schroeder Mrs. Nathan B. Talbot Polly Perry Gloria and Dan Jean-Noel and

Mrs. Roger A. Perry, Jr. Schusterman Mona N. Tariot Mrs. Thomas D. Perry Mrs. Aire-Maija Schwann Mr. Thomas Teal Margaret D. Philbrick Mr. and Mrs. George G. Mr. and Mrs. John L. Helen Salem Philbrook Schwenk Thorndike

Mr. and Mrs. John Mr. and Mrs. Thomas J. Mr. and Mrs. Samuel Plimpton Scott Thorne

Continued on page 81

79

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800.558.5466 or 617.779.1919 • commonwealthlimo.com Walter Piston Society (continued)

Mr. and Mrs. Carlos H. Mr. Stetson Whitcher Mr. and Mrs. Donald B. Tosi Ms. Carol A. Whitcomb Wilson

Diana Osgood Tottenham Mrs. Constance V.R. Mrs. John J. Wilson

Miss Ruth Tucker White Mr. and Mrs. Leslie J. Mr. Joseph F. Urner and Mr. and Mrs. Thomas Wilson Ms. Lorain R. Brown H.P. Whitney Jeanne H. Wolf Mr. and Mrs. Robert A. Dr. Michael Wiedman Miss Elizabeth Woolley Vieira Mrs. Amos N. Wilder Mrs. Eleanor Wright

Mr. and Mrs. Mark Volpe Mrs. Mary Gardiner Drs. Richard J. and

Mrs. Arthur A. Wilkinson-Greenberg Judith J. Wurtman Wahmann Mr. and Mrs. Richard E. Mr. David Yalen

Carol A. and Henry J. Willett Mrs. Christopher Young Walker Georgia H. Williams Lisl Zausmer Sidney Walker Mr. Jeffery D. Williams Dr. Nicholas T. Zervas Lyle Warner Mr. and Mrs. John Mrs. Kate Zigmond Ray and Barbara Warner Williams Isa Kaftal and George Mrs. Phyllis W Watkins Mrs. Margaret Williams- 0. Zimmerman Ms. Kathleen M. Webb DeCelles

Rockport Chamber Music Festival

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wicXW Mem! June 8-July 2, 2006

Rockport, MA 280 Huntington Ave. David Deveau, Artistic Director Next to the Huntington Theatre Boston 617-424-1697 www.rcmf.org 978.546.7391

81 BSO Major Corporate Sponsors, 2005-06 Season

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

-|- UBS is excited to continue its part- tt-^ f-^ l-c ^^ nership with the Boston Symphony \^J JLJ L-J Orchestra through its exclusive season sponsorship. Both UBS and the BSO have deep roots in Boston and UBS is proud to support one of the city's most celebrated cultural institu- tions. UBS, the global financial services leader, is committed to supporting excellence in orchestral music. In addition to Mark B. Sutton its sponsorship of the BSO, UBS also supports The Phila- Chairman and CEO, delphia Orchestra, the London Symphony, the UBS Verbier Americas Festival Orchestra, as well as several major music festivals in Europe and the U.S.

Delta is proud to support the arts in Delta Boston as the official airline of the Boston Symphony Orchestra. It's certainly an honor to trans- port musicians and music lovers alike to this great city. Delta's history in Boston is a rich one, and this sponsorship gives us another opportunity to deepen our alliance with Boston's many diverse citizens. Music frees the spirit and feeds the soul, and

Paul Matsen it's Delta's privilege to be aligned with an art as powerful as Senior Vice President the music created by the BSO. On behalf of Delta's more than and Chief Marketing 60,000 employees, we thank Boston and the BSO for welcom Officer ing Delta and its passengers to your hometown.

2 EMC is pleased to continue our long- EMC standing partnership with the Boston Symphony Orchestra. We are commit- where information lives ted to helping preserve the wonderful musical heritage of the BSO so that it can continue to enrich the lives of listeners and create a new generation of music lovers.

Vlllin Joe Tucci

Chairman, President, and CEO

82 I • SIRS & BMW WW»gB>

BSO Major Corporate Sponsors (continued)

The Fairmont Copley Plaza Boston together with Fairmont Hotels &C Resorts is proud to be the official COPLEY PLAZA hotel of the BSO. We look forward BOSTON c ... to many years or supporting this wonderful organization. For more than a century Fairmont Hotels & Resorts and the BSO have graced their communities with timeless elegance and enriching experiences. The BSO is Jonathan Crellin a New England tradition and like The Fairmont Copley Plaza, General Manager a symbol of Boston's rich tradition and heritage.

STEINWAY & SONS

Steinway & Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard, and applauded by artists and audiences alike for their rich, expressive sound. It's no wonder that, for 98% of today's Bruce Stevens concert pianists, the choice is Steinway. President

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured 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 cen- tury 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.

Classical 102.5 WCRB has proudly been tSSICAL involved with the Boston Symphony Or- 1023 chestra for over 50 years. Each week more ORB than a half-million people listen on Saturday BOSTON nights as we broadcast BSO, Pops, and Tanglewood concerts. We have been pleased to bring the per- formances of our world-class orchestra into the homes of mil- lions of music lovers. WCRB is the flagship station of Charles William W. Campbel River Broadcasting, which includes WFCC/Cape Cod, CEO, Charles River Broadcasting WCRI/Block Island, and the World Classical Network.

83 isabelia s:ewart Gardner. MUSEUM

THIS MONTH

Music at the Gardner World-class concerts in an intimate setting

ARTIST DIPLOMA SHOWCASE May 7, 1 :30pm Featuring outstanding young musicians Korbinian Altenberger, violin from New England Conservatory Pei-Shan Lee, piano Ravel, Liszt, Saint-Saens April 23, 1:30pm Christopher Guzman, piano SEASON FINALE Schubert, Schoenberg, Ravel May 14, 1:30pm April 30, 1:30pm Musicians from Marlboro Susie Park, violin Mozart, Schoenberg, Schumann Dana Vainstein, piano Mozart, Messaien, Schumann

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Julia Bruskin of The Claremont Trio. Photo by PhotoTailor.

84 ' WW*

BOSTON SYMPHONY ORCHESTRA 2005-2006 SEASON

onsolidated Corporate Support

The support provided by members of the corporate community (more than $44 million since 1982) enables the Boston Symphony Orchestra to maintain an un- paralleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community outreach programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO grate- fully acknowledges the following companies for their generous support of the Business and Professional Friends (the BSO's corporate membership program), A Company Christmas at Pops, and Presidents at Pops, including gifts-in-kind.

This list recognizes combined giving to the Business and Professional Friends, and participation in A Company Christmas at Pops and Presidents at Pops of $2,500 or more made between September 1, 2004, and August 31, 2005.

For more information, contact Jo Frances Kaplan, Director of Institutional Giving, at (617) 638-9264.

ACCOUNTING Margulies & Associates Capital Crossing Bank Deloitte & Touche USA LLP Marc Margulies Nicholas Lazares William K. Bade ASSOCIATIONS Citizens Financial Group James G. Sullivan Chief Executives Lawrence K. Fish Ernst & Young LLP Organization Investors Bank & Trust Daniel G. Kaye Company AUTOMOTIVE KPMG LLP Michael F. Rogers Clair Automotive Network Anthony LaCava Sovereign The Clair Family Bank PricewaterhouseCoopers LLP Joseph P. Campanelli The Herb Chambers Michael Costello John P. Hamill J. Companies Vitale, Caturano & Company Herb Chambers CONSULTING: Foundation MANAGEMENT/FINANCIAL J.N. Phillips Auto Glass Co., Lisa Catapano Inc. Anonymous ADVERTISING/ Alan L. Rosenfield Accenture PUBLIC RELATIONS William D. Green Jack Madden Ford Sales, Inc. Arnold Worldwide John P. Madden, Jr. Bain & Company, Inc. Francis J. Kelly HI Rodman Ford Lincoln The Boston Consulting Group Hill, Holliday Advertising Mercury Grant Freeland Jack Connors, Jr. Donald E. Rodman Braver & Company, PC. Morton Jack Worldwide Woburn Foreign Motors Patrick B. Riley Josh McCall George T. Albrecht BusinessEdge Solutions Inc. AEROSPACE BANKING Andrew J. Campbell Montreal Jet Center Bank of America CRA International Jacques Dalphond Anne M. Finucane James C. Burrows ARCHITECTS Boston Private Bank & Trust Hewitt Associates ADD Inc Company Jim Wolf Frederick Mark D. Thompson A. Kramer Huron Consulting Group The Architectural Team Cambridge Trust Company George E. Massaro Michael Binette Joseph V. Roller II

Continued on page 87 85 [J

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86 BSO Consolidated Corporate Support (continued)

Mr. and Mrs. Harvey Chet NSTAR General Catalyst Partners

Krentzman Thomas J. May David P. Fialkow Market Metrics Sprague Energy Goldman, Sachs & Co. Steve DeLano John McClellan John Hancock Financial Mercer Human Resource Tennessee Gas Pipeline Services Consulting John D. DesPrez III ENTERTAINMENT/MEDIA James J. McCaffrey, Esq. CBS 4/UPN 38/UPN 28 Kaufman and Company, LLC New Horizons Partners, LLC Sumner Kaufman Julio J. Marenghi and Literary Ventures Fund, Keefe, Bruyette Woods, Inc. & Inc. Greater Media, Peter H. Smyth Inc. James L. Bildner LPL Financial Services Towers Perrin WHDH - TV Mark S. Casady Wayne E. Fingas Michael Carson Lehman Brothers ENVIRONMENTAL UHY John White Mai Wang Initial Tropical Plants Gary Maltais Longwood Investment CONSULTING: Advisors COMMUNICATIONS/DESIGN FINANCIAL Robert A. Davidson Sametz Blackstone SERVICES/INVESTMENTS Loomis, Sayles & Associates Anonymous (3) Company, LP Roger Sametz Advent International Robert J. Blanding CONSUMER PRODUCTS Corporation Mellon New England Peter A. Brooke Boston Acoustics, Inc. David F. Lamere Andrew Kotsatos Atlantic Trust Morgan Stanley Thomas The Gillette Company Jeffrey Investment Banking Division Cathleen Chizauskas Jack Markwalter J. Navigator Management Edward I. Rudman Phelps Industries LLC Co., L.P The Baupost Group, LLC Richard J. Phelps Thomas M. O'Neill Seth A. Klarman EDUCATION Parthenon Capital Boston Capital Corporation Babson College Ernest K Jacquet Richard J. DeAgazio Brian M. Barefoot John C. Rutherford Boston Stock Exchange Curry College Perry Capital, LLC Kenneth R. Leibler Paul A. Lejf Kenneth K. Quigley, Jr. Clough Capital Partners, LP Putnam Investments ELECTRICAL/ELECTRONICS Charles L Clough, Jr. Charles E. Haldeman v Aldon Electric Inc. Dick and Ann Marie Saturn Partners City Lights Electrical Connolly Jeffrey S. McCormick Company, Inc. Cypress Capital Management, Standard & Poor's Maryanne Cataldo LLC Robert L. Paglia Hurley Wire and Cable Richard L. Arvedlund Arthur Hurley, State Street Corporation J. Jr. Deutsche Bank Securities Alan Greene Tri-State Signal, Inc. Inc. George A. Russell, Jr. Robert B. Dawe, Jr. Stuart C. Williams State Street Development Wayne J. Griffin Electric, Inc. Eaton Vance Corp. Management Corp. Wayne J. Griffin Alan R. Dynner, Esq. John R. Gallagher HI Essex Investment ENERGY/UTILITIES WP. Stewart & Co. Management Co. LLC Global Companies LLC Foundation, Inc. Alfred Slifka Joseph C. McNay Marilyn Breslow Exel Holdings, KeySpan Energy Delivery Inc. Watermill Ventures Paul M. Verrochi New England Steven E. Karol Nicholas Stavropoulos

Continued on page 89 87 The World's Greatest Musicians. The World's Greatest City. The World's Finest Piano.

M. Steinert & Sons salutes the Boston Symphony Orchestra artists who choose to own and perform on Steinway Pianos.

James Levine Jonathan Biss Richard Goode

Andreas Haefliger Jean-Yves Thibaudet

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88 wis MRSmffl

BSO Consolidated Corporate Support (continued)

Weston Presidio Waters Corporation Duane Morris LLP Michael F. Cronin Douglas A. Berthiaume Martin B. Shulkin, Esq.

Richard J. Snyder, Esq. FLOWERS HOTELS/HOSPITALITY Gadsby Hannah LLP Cedar Grove Gardens The Fairmont Copley Plaza Leonard L. Lewin, Esq. Richard O'Mara Boston Jonathan D. Crellin Goodwin Procter LLP FOOD SERVICE/ Regina M. Pisa, Esq. EQUIPMENT/INDUSTRY Four Seasons Hotel Boston Peter O'Colmain Goulston & Storrs Au Bon Pain Alan W. Rottenberg, Esq. Marriott Residence Inn Boston Showcase Co. Boston Harbor on Tudor Hinckley Allen & Snyder LLP Jason E. Starr Wharf Joel Lewin, Esq. Gourmet Caterers, Inc. Richard Kelleher Keegan & Werlin LLP Robert A. Wiggins The Red Lion Inn Robert J. Keegan, Esq. Johnson O'Hare Company Nancy Fitzpatrick J. Kirkpatrick & Lockhart Harry T. O'Hare, Jr. The Ritz-Carlton Hotels of Nicholson Graham LLP GRAPHIC DESIGN Boston Mark Haddad, Esq. Erwin Schinnerl DiSanto Design Mintz, Levin, Cohn, Ferris, Roseanne DiSanto INSURANCE Glovsky and Popeo, PC. R. Robert Popeo, Esq. Graphics Marketing Aon Corporation Services, Inc. Kevin A. White Nixon Peabody LLP Mike Lipson Robert H. Adkins, Esq. Arbella Insurance Group HEALTH CARE John Donohue Craig D. Mills, Esq. Palmer Dodge LLP Blue Cross Blue Shield of Chubb Group of Insurance & Massachusetts Companies Jejfrey F. Jones, Esq. Cleve L. Killingsworth, Jr. John H. Gillespie Ropes & Gray LLP Douglass N. Ellis, Esq. Harvard Pilgrim Health Care Hilb, Rogal, and Hobbs Jr., Charles D. Baker Insurance Agency Weil, Gotshal & Manges LLP C. Capezza Joseph Paul D. Bertrand James Westra, Esq.

Tufts Health Plan Lexington Insurance Wilmer Cutler Pickering Rich Hallworth Company Hale and Dorr LLP HIGH TECHNOLOGY Kevin H. Kelley William F. Lee, Esq. Analog Devices, Inc. Liberty Mutual Group MANUFACTURER'S REPS/ Ray Stata Edmund F. Kelly WHOLESALE DISTRIBUTION Cisco Systems, Inc. Marsh Jofran Richard Wenning John C. Smith Robert D. Roy

Helix Technology Corporation Safety Insurance Company Martignetti Companies

Robert J. Lepqfsky David F. Brussard Carmine A. Martignetti IBM Savings Bank Life Insurance Trinchero Family Estates Sean C. Rush Robert K Sheridan John Adams

International Data Group William Gallagher Associates Unisource Worldwide Inc.

Patrick J. Mc Govern Philip J. Edmundson Mike Nash Howard Sholkin INTERNET/INTERNET United Liquors Ltd. Medical Information PROFESSIONAL SERVICES A. Raymond Tye Technology, Inc. Digitas Williams Scotsman A. Pappalardo Neil David Kenny John Simard Millipore Foundation LEGAL MANUFACTURING C. William Zadel Bingham McCutchen LLP Cabot Corporation PerkinElmer, Inc. Kennett F. Burnes Gregory L. Summe Choate, Hall & Stewart Samuel B. Bruskin, Esq. Connell Limited Partnership Raytheon Company William P. Gelnaw, Esq. Francis A. Doyle William H. Swanson

Continued on page 91 89 Casner & Edwards, llp ATTORNEYS AT LAW

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90 BSO Consolidated Corporate Support (continued)

Harvey Industries, Inc. Mr. and Mrs. Thomas A. Component Assembly Alan M. Marlow Russo Systems, Inc. H. Lewis Rapaport J.D.P. Co. Thomas G. Sternberg Frederick H Merrill Jon D. Papps Adam J. Weiner Continental Wingate New Balance Athletic Shoe, PRINTING/PUBLISHING Company, Inc. Inc. The Boston Globe Scott Schuster James S. Davis Richard J. Daniels Corcoran Jennison Ty-Wood Corporation George H. Dean Co. Companies Joseph W. Tiberio Kenneth Michaud Joseph E. Corcoran Tyco Healthcare Herald Media, Inc. The Davis Companies Richard J. Meelia Patrick J. Purcell Jonathan G. Davis WR. Grace & Company Merrill/Daniels Dimeo Construction Company Robert J. Bettacchi Ian Levine Bradford S. Dimeo Watts Water Technologies The Studley Press Inc. EA Fish Associates Patrick S. O^Keefe Suzanne K. Salinetti Edward A. Fish MEDICAL MANUFACTURING/ PROFESSIONAL SERVICES E.M. Duggan Inc. RESEARCH Paul Harrington Anonymous J. Boston Scientific Corporation The Flatley Company Lawrence C. Best Blake & Blake Genealogists, Thomas J. Flatley Inc. PAPER MERCHANT Richard A. Blake, Jr. The Halleran Company, LLC Lindenmeyr Munroe Arthur J. Halleran, Jr. David Manning ML Strategies, LLC Stephen P. Tocco Heritage Property Investment xpedx Trust, Inc. Russell Reynolds Associates David Ashe Robert Prendergast /. Nicholas Hurd PHILANTHROPIC Hines REAL ESTATE/BUILDING/ Anonymous David G. Perry CONTRACTING Real Boston Red Sox Foundation The Abbey Group Intercontinental Estate Corporation The Catchings Family David R. Epstein Peter Palandjian Robert Epstein John and Diddy Cullinane J. Derenzo Co. Barker Steel Co. Inc. Barbara and Jim Cleary David Howe William Brack Joan and Ted Cutler Limbach Company LLC Beacon Capital Partners Alan R. Dynner Fredric J. Dorci Boston Properties, Inc. Meredith & Grew Cecilia and John F Farrell, Jr. Edward H. Linde Thomas Hynes, Jr. Gerald R. Jordan Foundation J. Boulder Capital Kevin C. Phelan Gerald R. Jordan Roy S. MacDowell, Jr. N.B. Kenney Company, Inc. Jonathan and Jeannie Lavine Carruth Management LLC Steven Kenney Lawyer Milloy Foundation Michael J. Egan New Boston Fund Lawyer Milloy Carson Limited Partnership Jerome L. Rappaport, Jr. Mr. and Mrs. Peter S. Lynch Herbert Carver New England Development Richard and Sara Page Mayo Central Ceilings, Inc. Stephen R. Karp Joseph B. McPherson The New England Foundation Steven S. Fischman Joseph C. McNay Century Drywall Inc. New England Insulation Michael Elliott New England Patriots Company Foundation Coldwell Banker Residential Theodore H. Brodie Brokerage Mr. Mark E. Nunnelly and Nordblom Company Richard Loughlin, Ms. Denise M. Dupre J. Jr. Rodger P. Nordblom

Joseph and Joan Patton

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92 BSO Consolidated Corporate Support (continued)

Northeast Interior Supply, Inc. RENTALS SOFTWARE/ John Filion United Rentals INFORMATION SERVICES O'Connor Capital Partners Mike MacDonald EDS Joe Fraser Jeremiah W. O'Connor, Jr. RESTAURANTS Keane, Inc. Otis & Ahearn Legal Sea Foods Brian T. Keane Kevin J. Ahearn Roger Berkowitz Mechanical Corp. PH RETAIL SUPERMARKETS Paul Hayes The Stop Shop BJ's Wholesale Club, Inc. & Supermarket Company, Inc. Patriot Construction Services Michael T. Wedge Sam McClain Marc Smith Christmas Tree Shops Rose Associates, Inc. Chuck Bilezikian TELECOMMUNICATIONS Philip J. Rogers Granite The E.B. Horn Company Telecommunications Robert T. Hale, S&F Concrete Contractors, Philip H. Finn Jr. Inc. Heritage Flag Company Intelligent Systems & Antonio Frias Amy McDonald Controls Contractors, Inc. S.R. Weiner & Associates, John Deady Jordan's Furniture Inc. Nortel Barry and Eliot Tatelman Stephen R. Weiner Anthony Cioffi Staples, Inc. Stonegate Group Shira Goodman Siemens Sean McGrath Paul Maier The TJX Companies, Inc. Suffolk Construction Bernard Cammarata Telecommunications Insight Company, Inc. Group, Inc. Christine A. Strickland John F. Fish Paul C. Trane SCIENCE/MEDICAL TA Associates Realty Verizon Agencourt Bioscience Michael A. Ruane Donna C. Cupelo Corporation Tishman Speyer R. Brian McKernan TRAVEL/TRANSPORTATION Thomas N. O'Brien Bicon Dental Implants Commonwealth Worldwide Trammell Crow Company Chauffeured Transportation Charles River Joseph P. Fallon Laboratories, Dawson Rutter Charles S. O'Connor Inc. Grand Circle Corporation Sean M. Teague James C. Foster Alan E. Lewis THE WELCH CORP. Fisher Scientific

Albert J. Welch HI International Inc. Paul M. Montrone

93

Hi SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

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~* ft 1ST BALCONY 00 > > I AND s s 2ND BALCONY is O O s

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

94 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 performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 card transaction. I concerts can be purchased online through a secure credit

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 announce- ment 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) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert

evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 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 $5 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.

FOR PATRONS WITH DISABILITIES, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print- programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289.

THOSE ARRIVING LATE OR RETURNING TO THEIR SEATS will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 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 at- tend 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 $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings.

95 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 Hunting- ton Avenue.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed 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 Hatch 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 Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 a.m. and 5 p.m., (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. In- cluding your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pro- gram book, access to the Beranek Room reception lounge, and priority ticket service. For fur- ther information, please call the Corporate Programs Office at (617) 638-9466.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, 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 www.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.

96 . ..

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