Summer 2014 Boston Symphony Orchestra

boston symphony orchestra summer 2014

Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas

Other Officers of the Corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individ- ual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was originally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. All bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2014

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

First Violins Wendy Putnam* Violas Owen Young* Robert Bradford Newman John F. Cogan, Jr., and Malcolm Lowe chair, endowed in perpetuity Steven Ansell Mary L. Cornille chair, Concertmaster Principal endowed in perpetuity Charles Munch chair, Xin Ding* Charles S. Dana chair, endowed in perpetuity Kristin and Roger Servison endowed in perpetuity Mickey Katz* chair Stephen and Dorothy Weber Tamara Smirnova Cathy Basrak chair, endowed in perpetuity Associate Concertmaster Glen Cherry* Assistant Principal Helen Horner McIntyre Donald C. and Ruth Brooks Anne Stoneman chair, Alexandre Lecarme* chair, endowed in perpetuity Heath chair, endowed endowed in perpetuity Nancy and Richard Lubin in perpetuity chair Alexander Velinzon° Edward Gazouleas Assistant Concertmaster Yuncong Zhang* Lois and Harlan Anderson Adam Esbensen* Ronald G. and Ronni J. Robert L. Beal, Enid L., chair, endowed in perpetuity Blaise Déjardin* and Bruce A. Beal chair, Casty chair endowed in perpetuity Robert Barnes Elita Kang Second Violins Michael Zaretsky Basses Assistant Concertmaster Haldan Martinson Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Principal Rachel Fagerburg* Carl Schoenhof Family Harold D. Hodgkinson Julianne Lee chair, endowed in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Acting Assistant (position vacant) Rebecca Gitter* Lawrence Wolfe Concertmaster Assistant Principal Assistant Principal Wesley Collins* Bo Youp Hwang Charlotte and Irving W. Maria Nistazos Stata chair, John and Dorothy Wilson Rabb chair, endowed Jonathan Chu* endowed in perpetuity chair, endowed in perpetuity in perpetuity Daniel Getz* Benjamin Levy Lucia Lin Sheila Fiekowsky Leith Family chair, endowed Dorothy Q. and David B. Shirley and J. Richard in perpetuity Arnold, Jr., chair, endowed Fennell chair, endowed Cellos Dennis Roy in perpetuity in perpetuity Jules Eskin Joseph and Jan Brett Ikuko Mizuno Nicole Monahan Principal Hearne chair David H. and Edith C. Philip R. Allen chair, Joseph Hearne Jennie Shames* Howie chair, endowed endowed in perpetuity Ruth and Carl J. Shapiro in perpetuity James Orleans*§ chair, endowed in perpetuity Martha Babcock Ronan Lefkowitz Associate Principal Todd Seeber* Valeria Vilker Vernon and Marion Alden Eleanor L. and Levin H. Kuchment* Vyacheslav Uritsky* chair, endowed in perpetuity Campbell chair, endowed in Stephanie Morris Marryott perpetuity and Franklin J. Marryott Nancy Bracken* Sato Knudsen chair Aza Raykhtsaum* Mischa Nieland chair, John Stovall* endowed in perpetuity Tatiana Dimitriades* Bonnie Bewick* Thomas Van Dyck* Catherine and Paul Mihail Jojatu Buttenwieser chair James Cooke* Sandra and David Bakalar chair Si-Jing Huang* Victor Romanul* Mary B. Saltonstall chair, Bessie Pappas chair Jonathan Miller Richard C. and Ellen E. endowed in perpetuity Catherine French* Paine chair, endowed Jason Horowitz* in perpetuity Ala Jojatu* Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange William Shisler Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, John Perkel Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed in perpetuity James Markey Associate Contrabassoon John Moors Cabot chair, Conductor endowed in perpetuity Oboes Gregg Henegar Marcelo Lehninger Helen Rand Thayer chair Anna E. Finnerty chair, John Ferrillo Tuba endowed in perpetuity Principal Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal Assistant James Sommerville Margaret and William C. Conductor Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity Andris Poga chair Edna S. Kalman chair, endowed in perpetuity Keisuke Wakao Timpani Personnel Assistant Principal Richard Sebring Managers Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, Margaret Andersen Sylvia Shippen Wells chair, Lynn G. Larsen Congleton chair, endowed endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel English Horn Rachel Childers Percussion Manager John P. II and Nancy S. Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke Stage Manager in perpetuity chair, endowed in perpetuity Michael Winter John Demick Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. William R. Hudgins Jason Snider Linde chair Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell participating in a system Jean-Noël and Mona N. * endowed in perpetuity Peter Andrew Lurie chair, of rotated seating Tariot chair endowed in perpetuity Michael Wayne § on sabbatical leave Matthew McKay on leave Thomas Martin Trumpets ° Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon A Brief History of the Boston Symphony Orchestra

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, August 22, 6pm (Prelude Concert) 2 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; MICKEY KATZ, cello Music of Shostakovich and Tavener

Friday, August 22, 8:30pm 8 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting “Oz With Orchestra”

Saturday, August 23, 8:30pm 17 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting; KIRILL GERSTEIN, piano Music of Berlioz, Rachmaninoff, and Respighi

Sunday, August 24, 2:30pm 31 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting; NICOLE CABELL, MEREDITH HANSEN, TAMARA MUMFORD, NOAH STEWART, ALEX RICHARDSON, and JOHN RELYEA, vocal soloists; TANGLEWOOD FESTIVAL CHORUS All-Beethoven program

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, to close the season on Friday, August 22, include soprano Nicole Cabell, conductor Charles Dutoit, and pianist Kirill Gerstein.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

TANGLEWOODWEEK 8 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, August 22, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE GIGI DOUGLAS AND DAVID FEHR CONCERT

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with MICKEY KATZ, cello

Please note that translations of the sung texts are being distributed separately.

SHOSTAKOVICH Ten Poems on Texts by Turn-of-the-Century Revolutionary Poets, Opus 88 1. With courage, friends, we go forward! (Text by L. Radin) 2. One of many (E. Tarasov) 3. To the streets! (Unknown) 4. In the meeting place (A. Gmyrev) 5. To the executed (A. Gmyrev) 6. The 9th of January (A. Kots) 7. The last explosions have fallen silent (E. Tarasov) 8. They won (A. Gmyrev) 9. A May song (A. Kots) 10. Song (V. Tan-Bogaraz, from W. Whitman)

TAVENER “Svyati (O Holy One),” for chorus and solo cello

This performance of John Tavener’s “Svyati” is dedicated by John Oliver and the Tanglewood Festival Chorus to the memory of the esteemed conductor Rafael Frühbeck de Burgos, who worked frequently with Mr. Oliver and the chorus during his many years as guest conductor with the Boston Symphony Orchestra, and whose passing in June left Mr. Oliver and the entire chorus deeply saddened.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

Written to win over the authorities, or as a genuine statement of artistic intent? As with so much of the output of Dmitri Shostakovich (1906-1975), this is the question raised by the Ten Poems on Texts by Turn-of-the-Century Revolutionary Poets, Opus 88, composed in early 1951. The previous three years had been some of the most per- ilous of Shostakovich’s career, following on from culture minister Andrei Zhdanov’s notorious “anti-formalist” decree of February 1948. Denounced for deviating from the Party line and “speaking a language,” as the composer’s “apology” put it, “incom- prehensible to the people,” Shostakovich was sacked from his conservatory posts and his best-loved works were effectively banned. Instead, he was reduced to cobbling together a living scoring cinematic potboilers like the patriotic The Unforgettable Year 1919. Any non-programmatic symphonic or chamber pieces from this period were for “the desk drawer.” Otherwise, Shostakovich was busy currying the official favor he had lost with propagandistic spectaculars like the cantata Song of the Forests. Shostakovich claimed that all the Stalinist pandering caused him terrible humiliation, but his librettist Yevgeniy Dolmatovsky, a Party-approved wordsmith, complicated this perception: “Shostakovich just didn’t know how to write half-heartedly—he always, every time, put everything into it.” The Ten Poems fall between the stools of “public” and “private.” If the harmonic language scarcely advances beyond Mussorgsky and Balakirev, their rhetoric draws on the tropes of contemporary Soviet mass songs—not to mention the secularized Orthodox Church styles reimagined in the rousing choral episodes of 19th-century nationalist operas like Boris Godunov and Prince Igor. In general, directness of expression and intelligibility of word-setting take precedent over immediate musical consid- erations. On the other hand, the symphonic proportions of “The 9th of January” and breakneck virtuosity of “To the streets!” place the cycle well beyond the reach of amateur singers. The generic designation—“poems,” not “choruses”—also testifies to an inward-looking impulse. (Shostakovich touched on the distinction with pedantic humor: “It doesn’t seem very convincing to me to call them choruses. One might just as well call orchestral pieces ‘orchestras.’”) That Shostakovich concentrated on the failed but widely romanticized 1905 Revolution is also significant. Coming the year before the composer’s birth, the events of 1905 exercised considerable fascina- tion over Shostakovich, thanks in part to family lore (his father was apparently present at the January 9 Bloody Sunday massacre). Shostakovich aimed to “convey the

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 3 spirit of the age” with music “reflecting the huge impression which [period] Russian revolutionary songs” had on him. Given that this was his first-ever concert work for unaccompanied chorus, Shosta- kovich set his sights high, selecting texts by some of the key Lenin-era poets. Though this would have pleased the apparatchiks, the cycle is not without its subversive undertones, the final “Song” adapting a Walt Whitman poem—a curious pick given Cold War tensions. In the wake of Stalin’s anti-Semitic purge of 1948 (which led Shostakovich to suppress his From Jewish Folk Poetry), the Jewish heritage of two of the writers may have been problematic as well. Yet it is impossible to know what significance can be attached to these choices. The same holds for Shostakovich’s submissive approach to securing the Union of Composers’ stamp of approval: Everyone was a bit nonplussed by Dmitri Dmitriyevich’s announcement that he was still inexperienced in a cappella choral writing and wanted as much critical feedback as possible. Although we all decided that this was some kind of coyness on the part of the universally recognized composer, there were actually a fair number of comments. Was Shostakovich’s naivety feigned, a defense against charges of sedition? After all, a Tsarist-period text like “In the meeting place” (also translatable as “The meeting in transit to exile”) would have acquired a very different ring in light of recent history—which is precisely how the composer’s confidants interpreted it. In the event, the set posed no major ideological problems, and was awarded a Stalin Prize. Of the Ten Poems, the opening “With courage, friends, we go forward!” is closest in style to a bona fide mass song, the voices rarely deviating from rhythmic lockstep. “One of many” transports the listener to the world of Prince Igor, the text’s prison imagery yielding to an outburst of warmth on “day of judgment” before revisiting the Siberian chill. After the toccata-like bustle of “To the streets!” comes “In the meeting place,” the only song to indulge atmospheric effects (the tenors enunciate the words while the other voices provide a humming cushion). The hushed “To the executed” acts like a prelude to “The 9th of January,” which Shostakovich later recy- cled in his Symphony No. 11, The Year 1905, alongside authentic revolutionary tunes. With its many changes in mood and texture, this elaborate movement was probably dearest to Shostakovich’s heart: it quotes one of his teenage Opus 2 piano preludes, which date from a time when the Bolshevik Revolution’s ideals had not yet been betrayed. The eerie “The last explosions have fallen silent” depicts the aftermath of Bloody Sunday, while the militaristic strains of “They won” indulges in an ironic reversal, retrospectively casting the 1905 revolt as the final nail in the Tsar’s coffin. (Or are “they” the Stalinists, and the point is that the more things changed, the more they stayed the same?) Proletarian vigor is on display in the lusty, fortissimo “A May song,” while the optimistic “Song” makes it difficult to agree with Shostakovich’s friend Isaak Glikman, who insisted that the Ten Songs were “written with the heart’s blood.” Like most things about Shostakovich, the truth is more complicated than all that.

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

4 Friend to Mia Farrow, Prince Charles, and an Orthodox nun named Mother Thekla, Sir John Tavener (1944-2013) enjoyed a career whose colorful, unpredictable course had few rivals among recent composers. His initial reputation was as an enfant terrible, his avant-garde provocations tapping into the Swinging London zeitgeist with an assist from Ringo Starr and the Beatles’ Apple Records, which issued his The Whale to a diverse, largely non-classical listenership in 1970. A period of personal upheaval followed, culminating in Tavener’s conversion to the Russian Orthodox Church. Often frail owing to an undiagnosed genetic disorder, Tavener suffered a stroke in 1979, which taught him to look upon death “as a friend.” Creatively, the result was a string of highly successful compositions, chief of which was The Protecting Veil. The first of many works for Tavener’s longtime collaborator, cellist Steven Isserlis, it became an unlikely crossover hit in the wake of its 1989 premiere. Eight years later, Tavener was again in the right place at the right time, when his Song for Athene (to words by Mother Thekla) was performed during Princess Diana’s internationally tele- vised funeral service. After the turn of the millennium, the composer embraced a newfound “Universalism,” his music reflecting tenets from Islam, Hinduism, and Native American faiths. Svyati (O Holy One) was composed in 1995 to the Trisagion (“Thrice Holy”) text, a mainstay of Russian Orthodox services featured “most poignantly,” Tavener maintains, “after the congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church, followed by the mourners with lighted candles.” Conceived for Isserlis, the cello part personifies an Orthodox priest, whose chants are answered by the chorus-cum-congregation. The music is derived entirely from the ascending three-note phrase heard at the start. By altering its second pitch, third pitch, or both—but never in the same combination—Tavener offers four permutations of the motive. Later on, at the one- third point, the permutations return in reverse order. Palindromes inspired by early Byzantine orthodox liturgy are a frequent occurrence in Tavener’s work, and he accounts for their attraction with a T.S. Eliot quote: “In my beginning is my end.” Palindromes are the earthly embodiment of divine oneness, which Tavener relates to the Trinity’s “three persons, one God.” Thus Svyati’s primary motto (or “ikon”) consists, naturally, of three notes. The music’s foundation is an omnipresent bass drone. Tavener’s fondness for static tones has been met with incomprehension: “Western performers never seem to understand the purpose, the spiritual significance, of the ‘ison,’ the long-held notes in my music. They complain that they have nothing to play, unlike Indian musicians who regard it as a great honour to play the ‘eternity’ note.” Above the drone the cello spins out lyrical lines in its searing, ecstatic high register, the other voices singing parallel chords with the flavor of Rachmaninoff’s Vespers. Tavener elaborates on these ideas in bell-like sections marked “strong, pleading,” with full-throated choral passages of forsaken, voice-in-the-wilderness desperation ensuing. The piece ends on quiet, hymn-like repetitions of the three-note motive. Characteristically, Svyati’s ritu- alistic directness of utterance transcended genre lines, and its premiere recording was shortlisted for the 1997 Mercury Music Prize alongside the likes of Radiohead and the Spice Girls.

MATTHEW MENDEZ New York-based music critic and composer Matthew Mendez, recipient this summer of the Tanglewood Music Center’s Miriam H. and S. Sidney Stoneman Fellowship, is the 2014 TMC Publications Fellow.

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 5 Artists

To read about the Tanglewood Festival Chorus and John Oliver, see pages 50-52.

A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo performer, chamber musician, and contemporary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tanglewood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. A passionate performer of new music, he premiered and recorded Menachem Wiesenberg’s Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, György Kurtág, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on challenging new pieces and collaborates with young composers. An active chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians From Marlboro tour, collaborating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kashkashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he completed his mandatory military service in Israel as a part of the “Distinguished Musician Program,” playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in many outreach and educational concerts for soldiers and other audiences.

6 Tanglewood Festival Chorus John Oliver, Conductor (Friday Prelude Concert, August 22, 2014)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Alison Anderson • Aimée Birnbaum • Alison M. Burns • Jeni Lynn Cameron • Lorenzee Cole # • Emilia DiCola • Kaila J. Frymire • Diana Gamet • Ashley Gryta • Beth Grzegorzewski • Alexandra Harvey • Eileen Huang • Nancy Kurtz • Jaylyn Olivo • Laurie Stewart Otten • Adi Rule Mezzo-Sopranos

Anete Adams • Virginia Bailey • Lauren A. Boice • Sharon Brown • Abbe Dalton Clark • Barbara Durham • Dorrie Freedman § • Irene Gilbride # • Mara Goldberg • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Anne Forsyth Martín • Tracy Elissa Nadolny • Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Karen Thomas Wilcox • Lidiya Yankovskaya Tenors

Ryan Casperson • Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • Keith Erskine • Matthew Jaquith • Henry Lussier § • David Norris # • Jonathan Oakes • Lukas Papenfusscline • Kevin Parker • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Adam Van der Sluis Basses

Thomas Anderson • Nathan Black • Daniel E. Brooks # • David W. Brown • Stephen J. Buck • Paulo César Carminati • Matthew Collins • Jeramie D. Hammond • Nathan Kessel • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Timothy Lanagan # • David K. Lones # • Eryk P. Nielsen • Stephen H. Owades § • Sam Filson Parkinson • Daniel Schwartz • Stefan Sigurjonsson • Alexander Teplansky • Thomas C. Wang # • Terry Ward

William Cutter, Rehearsal Conductor Lidiya Yankovskaya, Russian Diction Coach Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager Stu Rosner

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 7 2014 Tanglewood

Friday, August 22, 8:30pm THE CAROL AND JOE REICH CONCERT

THE BOSTON POPS AT TANGLEWOOD SPONSORED BY VISIT SARASOTA COUNTY FLORIDA

BOSTON POPS ORCHESTRA KEITH LOCKHART conducting

A SYMPHONIC NIGHT AT THE MOVIES “Oz With Orchestra”

Film Credits for “The Wizard of Oz”

CAST JudyGarland ...... Dorothy Gale Frank Morgan ...... Prof. Marvel/Emerald City doorman/The cabbie/ The Wizard’s guard/The Wizard of Oz Ray Bolger ...... Hunk/The Scarecrow BertLahr...... Zeke/The Cowardly Lion Jack Haley ...... Hickory/The Tin Man BillieBurke...... Glinda, the Good Witch Margaret Hamilton ...... Miss Gulch/The Wicked Witch Charley Grapewin...... Uncle Henry ClaraBlandick ...... Auntie Em and The Munchkins

8 SCREENPLAY BY Noel Langley Florence Ryerson Edgar Allan Woolf DIRECTED BY Victor Fleming PRODUCED BY Mervyn LeRoy MUSIC BY Harold Arlen (songs) Herbert Stothart Film Courtesy of Warner Bros. Entertainment Inc.

Production Credits Producer: John Goberman Original orchestrations reconstructed by: John Wilson and Andrew Cottee The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists.

Please note that there will be a 20-minute intermission approximately halfway through the film.

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

TANGLEWOODWEEK 8 FRIDAYPROGRAM 9 The Carol and Joe Reich Concert Friday, August 22, 2014 The performance on Friday evening is supported by a generous gift from Great Benefactors Carol and Joe Reich. Carol and Joe have delighted in the sights and sounds of Tanglewood for more than forty years. Lovers of both the beauty of the landscape and the wonder of the music, Carol and Joe have proudly shared the joy of Tanglewood with their children and grandchildren. “The first thing I think about Tanglewood is its great beauty,” says Carol. “Tanglewood is a gift, and it is still a gift to us when we attend today. It is an important gathering and listening place that we love to share.” True advocates for Tanglewood, Carol and Joe have graciously donated to the BSO and Tanglewood for many years and are members of the Koussevitzky Society at the Founders level. Reflecting their shared dedication to education, they have generously supported education initiatives including Days in the Arts (DARTS) and the Tangle- wood Music Center. As leadership donors to many BSO fundraising initiatives, Carol and Joe hope to inspire others to support Tanglewood and its programs, regardless of giving level. “Whether it is $5 or $5,000, the idea is to give—it is all important,” says Carol. Carol and Joe have dedicated their other philanthropic efforts to ensuring that underserved children have access to high quality education. In 1992, they launched an innovative new public school in Brooklyn, which became one of the first charter schools in New York. They have written and published a book about the inspiring story of the school’s creation, entitled Getting to Bartlett Street: Our 25-Year Quest to Level the Playing Field in Education, which was released in 2012. Stu Rosner

10 NOTES ON THE PROGRAM

75 Years Later: Revisiting a “Technical Marvel” MGM’s “technical marvel” The Wizard of Oz was released in the legendary movie year of 1939. The project cost three million dollars and took eighteen months to complete. Although well received by critics (see below), the film adaptation of L. Frank Baum’s 1900 novel did not recoup the studio’s investment until after it was re-released to theaters. Nominated for five Academy Awards, it lost to Gone With the Wind for Best Picture, but earned Oscars in the Song category for Harold Arlen and E.Y. Harburg’s “Over the Rainbow” and in the Original Score category for Herbert Stothart’s overall supervision of the musical score. Judy Garland took home a miniature statuette for the “Best Performance by a Juvenile,” also encompassing her role in Babes in Arms. What made The Wizard of Oz a corner- stone of American popular culture, though, was television. The baby boomers among us recall gathering around the TV for the annual broadcasts, which began in 1956. In the era before TiVo, DVRs, and even VCRs, this was an event! For those who watched the movie originally on black-and-white sets, the first viewing on a color television provided an awesome cinematic jolt, as Dorothy opened the door into the vibrantly Technicolor world of Munchkinland. In fact, it was because of this new process that Dorothy’s slippers were changed from silver to ruby. The story, the memorable characters, the special effects, the music and the songs, and the lines of dialogue that have become common phrases (e.g., “Pay no attention to that man behind the curtain”; “I’ll get you, my pretty…”; “There’s no place like home”) have all served to keep The Wizard of Oz in the minds and hearts of

TANGLEWOODWEEK 8 FRIDAYPROGRAMNOTES 11 fans for generations. Here is some of the critical reaction to the original release 75 years ago: “It is not only a magnificent, history-making technical achievement: it is a warmly human, deeply emotional photoplay, too.”—James Francis Crow, Hollywood Citizen-News “It is ... brilliantly inventive, arrestingly beautiful and dramatically compelling to the eye, the ear, and the emotions.... Numerous scenes will remain long in the audience memory—of whatever age—to mark Wizard as memorable.” —The Hollywood Reporter “A delightful piece of wonder-working which had the youngsters’ eyes shining and brought a quietly amused gleam to the wiser ones of the oldsters.”—Frank Nugent, New York Times “Magnificent sets and costumes, vivid Technicolor, and every resource of trick photography bolster the competent cast that strikes a happy medium between humor and make-believe.”—Newsweek In tonight’s presentation of “Oz With Orchestra,” a stunningly restored print of the film, with the original vocals and dialogue intact, is paired with the original orchestrations as performed live by the Boston Pops, allowing the audience to experience this beloved classic as never before.

ELEANOR HAYES MCGOURTY Eleanor Hayes McGourty is Assistant Director of Program Publications for the Boston Symphony Orchestra and program editor for the Boston Pops.

Artists

Keith Lockhart Keith Lockhart became the twentieth conductor of the Boston Pops in 1995, adding his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. Mr. Lockhart holds the Julian and Eunice Cohen Boston Pops Conductor chair. He has worked with a wide array of established artists from virtually every corner of the entertainment world, while also promoting programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his twenty-year tenure, he has conducted nearly 1,600 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. Mr. Lockhart has also introduced concert performances of full-length Broadway shows, including Rodgers and Hammerstein’s Carousel and Stephen Sondheim’s A Little Night Music, and the PopSearch and High School Sing-Off competitions. Under his leadership, the Boston Pops has commissioned several new works—including The Dream Lives On, a tribute to the Kennedy brothers, which was premiered in May 2010 during the 125th anniversary season—and dozens of new arrangements. Audiences worldwide love Keith Lockhart’s inimitable style, expressed not only through his consummate music-making, but also by his unique ability to speak directly to the audience about the music to which he feels so passionately committed. He and the Boston Pops have released five self-produced recordings—2013’s A Boston Pops Christmas–Live from Symphony Hall, as well as Sleigh Ride, America, Oscar & Tony, and The Red Sox Album—and also recorded eight albums with RCA Victor—Runnin’ Wild: The

TANGLEWOODWEEK 8 ARTISTS 13 Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. Keith Lockhart has made seventy-five television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler, and the annual Boston Pops Fireworks Spectacular, broadcast nationally for many years on the A&E and CBS television networks. He has also led many Holiday Pops telecasts, as well as thirty-eight new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on thirty-nine national tours, as well as performances at Carnegie Hall and Radio City Music Hall, and brought the music of “America’s Orches- tra” overseas in four tours of Japan and Korea. Mr. Lockhart has led the Boston Pops in the national anthem for numerous major sports events. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. He was music director of the Utah Symphony from 1998 to 2009, and led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra. Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universities. Visit keithlockhart.com for further information.

14 Boston Pops Orchestra KEITH LOCKHART Jonathan Chu* Contrabassoon Julian and Eunice Cohen Daniel Getz* Gregg Henegar Boston Pops Conductor Wesley Collins* endowed in perpetuity Horns Cellos Richard Sebring JOHN WILLIAMS Martha Babcock Principal Laureate Conductor Principal Rachel Childers Helene and Norman L. Michael Winter First Violins Cahners chair, Jason Snider Tamara Smirnova endowed in perpetuity Jonathan Menkis Concertmaster Sato Knudsen Beranek chair, Mihail Jojatu Trumpets endowed in perpetuity Blaise Déjardin* Thomas Rolfs Elita Kang Mickey Katz* Principal Assistant Concertmaster Jonathan Miller Roberta and Stephen R. Edward and Bertha C. Rose Owen Young* Weiner chair, chair, endowed in perpetuity Alexandre Lecarme* endowed in perpetuity Julianne Lee Adam Esbensen* Thomas Siders Acting Assistant Michael Martin Concertmaster Basses Benjamin Wright Lawrence Wolfe Bo Youp Hwang Trombones Eunice and Julian Cohen Principal chair, endowed in perpetuity McGrath Family chair, Stephen Lange § Glen Cherry* endowed in perpetuity Amanda Stewart Tatiana Dimitriades* Benjamin Levy Bass Trombone Valeria Vilker Kuchment* Todd Seeber* James Markey Si-Jing Huang* John Stovall* Wendy Putnam* Thomas Van Dyck Tuba Yuncong Zhang* Susan Hagen§ Mike Roylance Jennie Shames* Flutes Principal Xin Ding* Elizabeth Ostling Timpani James Cooke* Principal Aza Raykhtsaum* Daniel Bauch Mr. and Mrs. William F. Second Violins Connell chair, Percussion Sheila Fiekowsky endowed in perpetuity J. William Hudgins Nicole Monahan Clint Foreman Kyle Brightwell Matthew McKay Jason Horowitz* Piccolo Bonnie Bewick* James Gwin Cynthia Meyers Ronan Lefkowitz Drums Nancy Bracken* Oboes Harp Vyacheslav Uritsky* Mark McEwen Jessica Zhou Victor Romanul* Amanda Hardy§ Catherine French* Keyboards Ala Jojatu* English Horn Vytas Baksys Gerald Elias§ Andrew Adelson§ Benjamin Cook Violas Clarinets Librarians Cathy Basrak Thomas Martin D. Wilson Ochoa Principal Principal Principal Edward Gazouleas Michael Wayne William Shisler Robert Barnes Bass Clarinet John Perkel Ronald Whitaker Michael Zaretsky Craig Nordstrom Kazuko Matsusaka* Personnel Managers Mark Ludwig* Saxophone Lynn G. Larsen Rachel Fagerburg* Michael Monaghan Rebecca Gitter* Bruce M. Creditor Bassoons Assistant Personnel Manager Benjamin Kamins§ Stage Manager * Participating in a system Suzanne Nelsen of rotated seating John Demick § Substituting or extra player

TANGLEWOODWEEK 8 ARTISTS 15

2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, August 23, 8:30pm

CHARLES DUTOIT conducting

BERLIOZ “Roman Carnival” Overture, Opus 9

RACHMANINOFF “Rhapsody on a Theme of Paganini,” Opus 43, for piano and orchestra KIRILL GERSTEIN

{Intermission}

RESPIGHI Roman Trilogy (Three symphonic poems):

“Roman Festivals” Games at the Circus Maximus The Jubilee The October Harvest Festival Epiphany

“Fountains of Rome” The Fountains of Valle Giulia at dawn The Triton Fountain in the morning The Fountain of Trevi at mid-day The Fountain at the Villa Medici at sunset

“Pines of Rome” The Pines of the Villa Borghese Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

TANGLEWOODWEEK 8 SATURDAYPROGRAM 17 NOTES ON THE PROGRAM

Hector Berlioz (1803-1869) “Roman Carnival” Overture, Opus 9 First performance: February 3, 1844, Paris, Berlioz cond. First BSO performance: January 1883, Georg Henschel cond. First Tanglewood performance: July 29, 1947, Serge Koussevitzky cond. Most recent Tanglewood performance: July 24, 2009, James Levine cond. Berlioz composed the Roman Carnival Overture in the fall of 1843, basing it on music from his opera Benvenuto Cellini. In this form it received its premiere in Paris, under the composer’s direction, on February 3, 1844. After its ﬁrst performance, which was a hit, Le Carnival romain became the work that Berlioz himself conducted more frequently than anything else in his portfolio. Its lyricism and rhythmic élan have further ensured it a place in the repertory of all modern orchestras. In a letter to the English critic George Hogarth, Berlioz explained the origins of the overture. The opening Andante was taken from the duet of Benvenuto Cellini and his inamorata, Teresa, in the ﬁrst tableau of Act I of the opera; the ensuing Allegro was derived from the double chorus that is sung and danced in the Piazza Colonna, on the last night of the carnival season, in the second tableau of Act I. “But the joining together of these two themes, which you will hear at the midpoint of the Allegro,” he told Hogarth, underlining the importance of one of his favorite musical techniques, “is found only in the overture [and not in the opera itself].” Had he wished to give a full accounting, Berlioz would have revealed another fact that modern scholars have known only since 1991,

18 when the first large-scale composition that Berlioz ever had performed, the long presumed “burnt” Messe solennelle of 1824, was astonishingly rediscovered; for it turns out that the theme from the second tableau of the opera is derived from a phrase from the Gloria of that early work. The overall form of the Roman Carnival is a descendent of the bipartite overtures of Beethoven in which a slow introduction is followed by an Allegro that conforms in some abbreviated fashion to the sonata design. A rapid summons-to-attention is followed by a three-fold presentation, Andante sostenuto, of the love music from the opera. A whirling transition brings us to the Allegro vivace, where we learn from a series of hushed and hurried whispers that something big is about to happen. Then, led by the horns, trumpets, and cornets—this is the transmogrified bit from the Mass—all hell breaks loose. If you are not lifted out of your seat at this point in the score, something has gone wrong, or Berlioz is not right for you. Rhythmic and dynamic contrastes et oppositions, as Berlioz liked to call them, go at a gallop to the end. Harmonic surprises abound as well, including one at the final cadence. Though it derives from an opera that failed, this is music of such energy, exuberance, and brilliance of color that it has to be associated with the thrill of victory, and not at all with the agony of defeat.

PETER BLOOM Peter Bloom, who is Grace Jarcho Ross 1933 Professor of Humanities at Smith College in Northampton, MA, and a leading scholar in the ﬁeld of research and writing about Berlioz, is currently at work on a new critical edition of the composer’s Memoirs.

Sergei Rachmaninoff (1873-1943) “Rhapsody on a Theme of Paganini,” Opus 43, for piano and orchestra First performance: November 7, 1934, Philadelphia Orchestra (in Baltimore), Leopold Stokowski cond., Rachmaninoff, soloist. First BSO performance: December 24, 1937, Serge Koussevitzky cond., Rachmaninoff, soloist. First Tanglewood performance: August 13, 1967, Erich Leinsdorf cond., John Browning, soloist. Most recent Tanglewood performance: August 5, 2011, Rafael Frühbeck de Burgos cond., Garrick Ohlsson, soloist. Generally regarded as a reactionary in a world dominated by the new ideas of Stravinsky’s neoclassicism on the one hand and Schoenberg’s twelve-tone technique on the other, Rachmaninoff was for decades largely written off by the musical intelli- gentsia. To be sure, the biggest successes, the pieces requested again and again, the works he could not avoid—the Second and Third piano concertos in particu- lar, and, of course, the Prelude in C-sharp minor, which he had to play at every recital before the audience would let him leave—were far in the past by 1934. For his Rhapsody on a Theme of Paganini composed that year, it was bold of Rachmaninoff to choose a theme so thoroughly treated by earlier composers. Paganini himself had started the tradition by varying the theme of his Twenty-fourth Caprice for solo violin eleven times; later in the nineteenth century both Liszt and Brahms took their turns having a go at the theme. Following Rachmaninoff, Witold Lutosławski and Boris Blacher also continued the investigation of Paganini’s theme. And yet, despite the long history of composers’ delving into this thematic material, Rachmaninoff comes up with fresh treatments presented in a score that is dashing, brilliant, romantic, and witty by turns. The great choreographer Michel Fokine prepared a ballet to this music in 1939 to a scenario provided by Rachmaninoff himself, based on the Paganini

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 19 legend, the demonic super-virtuoso whose powers were granted him through a pact with the devil. It is even conceivable that Rachmaninoff had this story in mind while composing. (He often said that a program provided a stimulus when he was working, though he rarely revealed its nature or details.) The title “Rhapsody” might lead us to expect extraordinary freedoms in the treatment of the Paganini material, but ironically Rachmaninoff here gives us the most classically shaped of all his compositions. Each variation is complete in itself, and each has a marked, evident connection to the Paganini theme. As a whole the treatment becomes freer as the work progresses, but that is entirely consonant with classical practice. The first six variations maintain strict tempo, stay in the same key (A minor) as Paganini’s caprice, and even hint at Paganini’s own variations. The first major change in character comes with the seventh variation, in which Rachmaninoff introduces one of his favorite musical ideas as a second thematic idea. This is the old Dies irae plainchant from the Mass for the Dead, a tune widely used by romantic composers since Berlioz, but by no one so often as Rachmaninoff. We hear it first in sustained chords in the piano against thematic segments in bassoon and cellos. It will play a substantial role in the score, perhaps designed to suggest Paganini’s sup- posed bargain with the devil (just as Berlioz used it to suggest diabolical activities in the “Dream of a Witches’ Sabbath” finale of his Symphonie fantastique). Rachmaninoff plans its several reappearances in his Rhapsody with a keen sense of telling effect. Through the tenth variation, the music stays firmly in Paganini’s home key of A minor. But the eleventh variation, which functions as a kind of reflective solo cadenza with a mysterious accompaniment, leads off to a new key and the beginning of a middle section in which the tonality is freer. The most famous variation is the eigh- teenth, in the lush, romantic key of D-flat major. This sounds, at first hearing, as if Rachmaninoff had thrown Paganini to the winds and gone off to seek the kind of

20 rich Russian melody that had made his Second and Third piano concertos so popular. And yet this theme, in Rachmaninoff’s most popular style, is derived from Paganini’s by the simple device of turning its notes upside-down and playing them more slowly and lyrically. The result is an outpouring of lyric melody that soars climactically and then dies gently away. The remaining five variations return to the home key for a finale of great brilliance à la Paganini, then turning to intimations of the satanic, with a dark march erupting in a piano cadenza and a variation (No. 23) in which the soloist begins in the unlikely key of A-flat. But the orchestra promptly takes matters into its own hands by jerking the soloist up to A and continuing into the last variation, with a kaleidoscopic outburst of fireworks and a final reference in the brass to the Dies irae. Then, just as Rachmaninoff seems to be building to his mightiest peroration, the score ends with the wittiest touch of all—one last quiet reference to Paganini.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Ottorino Respighi (1879-1936) Roman Trilogy: “Roman Festivals,” “Fountains of Rome,” and “Pines of Rome” ROMAN FESTIVALS: First performance: February 21, 1929, New York Philharmonic- Symphony, Arturo Toscanini cond. First BSO performance: January 24, 1930, Eugene Goossens cond. First Tanglewood performance: August 3, 1979, Seiji Ozawa cond. Most recent Tanglewood performance: July 9, 2000, Roberto Abbado cond. FOUNTAINS OF ROME: First performance: February 8, 1918, Rome (in a concert to benefit artists disabled in the war), Arturo Toscanini cond. First BSO performance: November 12, 1920, Pierre Monteux cond. First Tanglewood performance: July 23, 1960, Pierre Monteux cond. Most recent Tanglewood performance: August 5, 2008, Hans Graf cond. (Tanglewood on Parade). PINES OF ROME: First performance: December 14, 1924, Augusteo Orchestra, Bernardino Molinari cond. First BSO performance: February 12, 1926, Serge Koussevitzky cond. First Tanglewood performance: August 3, 1950, Victor de Sabata cond. Most recent Tanglewood performance: July 8, 2011, Charles Dutoit cond. The only previous occasion on which the Boston Symphony Orchestra performed Respighi’s Roman Trilogy in a single program was a Thursday-morning concert on October 13, 1977, with Seiji Ozawa conducting, prior to recording all three works with the BSO that weekend for Deutsche Grammophon. (“Roman Festivals” was not included in the Thursday-night, Friday, Saturday, or Tuesday concerts in that week’s subscription programming.) Respighi was a minor master, but a master surely. He began as a pianist, violinist, and violist, and in 1900 became principal violist in the opera orchestra at St. Petersburg. There he had the opportunity of taking some lessons with Rimsky-Korsakov, which accounts in part for his dazzling brilliance as an orchestrator. He soon returned to Italy, leaning more toward composition, but still active as a performer, particularly as violist in the Mugellini Quartet. In 1913 he settled in Rome, teaching at and later presiding over the St. Cecilia Academy. He was a cultivated amateur of what was then

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 21 called “ancient music,” a taste that led him to composing a piano concerto in the mixolydian mode and a Concerto gregoriano for violin, as well as, more famously, making the transcriptions of lute and keyboard pieces he published as three suites of Ancient Airs and Dances and as The Birds. He was one of the composers commissioned by Serge Koussevitzky to mark the BSO’s fiftieth season, for which occasion he produced his Metamorphoseon modi XII, introduced in Boston in November 1930. But what brought Respighi most of the fame and fortune he so thoroughly enjoyed was his trilogy of Roman symphonic poems (Fontane di Roma, Pini di Roma, and Feste romane): the Fountains of 1916, the Pines (above all) of 1924, and the Festivals of 1928-29. Each of these scores has a brief descriptive preface, given below.

MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic.

“Roman Festivals” Games at the Circus Maximus—A threatening sky hangs over the Circus Maximus, but for the people it is a holiday: Ave Nero! The iron doors are unlocked, and the air carries the strains of a religious chant and the howling of wild beasts. The crowd rises and seethes: unperturbed, the song of the martyrs rises, conquers, and is lost in the tumult. The Jubilee—Pilgrims trail along the highway, praying. Finally, from the summit of Mount Mario, there appears to their ardent eyes and yearning souls the Holy City: Rome, Rome! A hymn of praise bursts forth and the church bells ring out their reply. The October Harvest Festival—The October Festival in the Roman castelli, all covered with vines: echoes of the hunt, tinkling of bells, love songs. Then, in the tender even-fall, a romantic serenade trembles in the air. Epiphany—The night before Epiphany [January 6, Twelfth Night] in the Piazza Navona: a characteristic rhythm of trumpets dominates the frantic clamor: above the swelling din float, from time to time, rustic motives, the cadences of a saltarello, the sounds of a barrel-organ, the appeal of the barker, the raucous song of the drunk, and the proud verse in which the people’s soul expresses itself. Lassàtece passà, semo Romani! Let us through, we’re Romans!

22 “Fountains of Rome” In this symphonic poem the composer has endeavored to give expression to the sen- timents and vision suggested to him by four of Rome’s fountains, contemplated at the hour when their character is most in harmony with the surrounding landscape, or at which their beauty is most impressive to the observer. The ﬁrst part of the poem, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn. A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, the Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and min- gling in a frenzied dance among the jets of water. Next there appears a solemn theme borne on the undulations of the orchestra. It is the Fountain of Trevi at mid-day. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal: across the radiant surface of the water there passes Neptune’s chariot drawn by seahorses and followed by a train of sirens and tritons. The procession vanishes while faint trumpet blasts resound in the distance. The fourth part, the Fountain at the Villa Medici, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, the twittering of birds, the rustling of leaves. Then all dies peacefully into the silence of the night.

“Pines of Rome” The Pines of the Villa Borghese—Children are at play in the pine groves of the Villa Borghese. They dance round in circles; they play at soldiers, marching and fighting; they are intoxicated by their own cries like swallows at evening; they rush about. Suddenly the scene changes... Pines Near a Catacomb—We see the shades of the pines fringing the entrance to a catacomb. From the depths rises the sound of mournful psalms, floating through the air like a solemn hymn and mysteriously dispersing. The Pines of the Janiculum—A shudder runs through the air: The pines on the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale sings. The Pines of the Appian Way—Misty dawn on the Appian Way; solitary pine trees guarding the tragic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly risen sun, a consular army bursts forth forward the Via Sacra, mounting in triumph to the Capitol.

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 23

Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He has already led both the BSO and the Tanglewood Music Center Orchestra here this summer, and this past spring, substituting at short notice for Lorin Maazel, he led the final three programs of the BSO’s 2013-14 subscription season, as well as the orchestra’s tour to China and Japan immediately following those concerts. In February and March 2015 he returns to the Symphony Hall podium for a program of Stravinsky, Debussy, and Brahms, and concert performances of Szymanowski’s opera King Roger, which he has championed. Charles Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philhar- monic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinctions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Symphony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden in London, the Metropolitan Opera in New York, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the Inter- national Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globe- trotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

TANGLEWOODWEEK 8 GUESTARTISTS 25

Kirill Gerstein Recipient of the 2010 Gilmore Artist Award, Kirill Gerstein is only the sixth pianist to have been so honored. He has since commissioned boundary-crossing new works from Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres, and Alexander Goehr. Mr. Gerstein has also received first prize at the Arthur Rubinstein Piano Competition in Tel Aviv, a Gilmore Young Artist Award, and an Avery Fisher Grant. Highlights of his 2014-15 season in North America include performances of Shostakovich’s Piano Concerto No. 2 with the Philadelphia Orchestra under Yannick Nézet-Séguin and Thomas Ad`es’s In Seven Days with the San Francisco Symphony under the baton of the composer; re-engagements with the St. Louis, Vancouver, Indianapolis, Nashville, and San Antonio symphonies; debuts with the Minnesota Orchestra and the New Jersey Symphony, and a recital on Carnegie Hall’s “Keyboard Virtuosos” series in Zankel Hall. Internationally Mr. Gerstein appears with the Vienna Philharmonic, the Gewandhaus Orchestra of Leipzig, the St. Petersburg Philharmonic, BBC Symphony, and the Gurzenich Orchestra in Cologne, Salzburg, and Vienna, as well as with the São Paulo Symphony in Brazil. This summer he appears at the Tanglewood, Verbier, and Edinburgh festivals. Besides his performances with major orchestras and in recital throughout North America, he has made festival appearances at Aspen, the Santa Fe Chamber Music Festival, Chicago’s Grant Park, Tanglewood with the Boston Symphony, Blossom with the Cleveland Orchestra, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival, Mann Music Center, and Saratoga. Internationally he has worked with the Czech, Munich, Rotterdam and London philharmonics, the City of Birmingham Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Dresden Staatskappelle, Finnish Radio Orchestra, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne, and the Zurich Tonhalle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London, and Budapest, and has appeared at the Salzburg Festival, Lucerne Festival, and Jerusalem Chamber Music Festival, as well as the Proms in London. Mr. Gerstein’s second solo recording, featuring Mussorgsky’s Pictures at an Exhibition and Schumann’s Carnaval, was released by Myrios Classics in June 2014. His first Myrios solo recording (Schumann, Liszt, and Knussen) was named one of the ten best of 2010 by the New York Times and was followed by two viola sonata discs with Tabea Zimmerman. His most recent Myrios recording, featuring Tchaikovsky’s Piano Concerto No. 1 and Prokofiev’s Piano Concerto No. 2, will be released in early 2015 and represents the first recording, using the new critical edition from Moscow’s Tchaikovsky Museum, of the composer’s original second version. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a special music school for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. At fourteen he studied jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. Subsequently deciding to focus on classical music, he moved to New York to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both bachelor’s and master’s degrees in music. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados. An American citizen since 2003, he now divides his time between the United States and Germany, where he has been a professor of piano at Stuttgart’s Musikhochschule since 2006. Kirill Gerstein has appeared twice previously with the Boston Symphony Orchestra: in July 2010 at Tanglewood, when he made his BSO debut with Tchaikovsky’s Piano Concerto No. 1, and in November 2012, when he made his subscription series debut as soloist in two works in a single program with Thomas Adès on the podium, Adès’s In Seven Days and Prokofiev’s Piano Concerto No. 1.

TANGLEWOODWEEK 8 GUESTARTISTS 27 A page from the 1937 program book for the Boston Symphony Orchestra’s first concerts at Tanglewood (BSO Archives)

From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

29 Sunday, August 24, 2014 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre The performance on Sunday afternoon is sponsored by Tanglewood Business Partners Country Curtains, The Red Lion Inn, and Blantyre. Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been generous supporters of the Boston Symphony Orchestra and Tanglewood for more than forty years. Country Curtains was founded by the late BSO Life Trustee Jane Fitzpatrick and her late husband, Jack, in 1956. The company first operated out of their home. In 1969, Jack and Jane purchased and restored The Red Lion Inn in Stockbridge and moved the business there. The couple’s two daughters, BSO Life Trustee Nancy Fitzpatrick and Ann Fitzpatrick Brown, continue the family legacy. As Great Benefactors, Jane and Jack generously supported numerous capital projects, endowment funds, and education initiatives, including the Tanglewood Forever Capital Fund, Seiji Ozawa Hall, the Tanglewood Music Center, and the Cohen Wing, among other support. Jane was elected to the Board of Overseers in 1978 and the Board of Trustees in 1982. She served as Vice-Chairman of the Board of Trustees from 1989 to 1996, at which time she was elevated to Life Trustee. Nancy Fitzpatrick has continued her parents’ dedication and commitment to the BSO. She was elected to the Board of Overseers in 1995 and the Board of Trustees in 1998. Nancy was elevated to Life Trustee in 2013, and she serves as co-chair of the Tanglewood Business Partners Committee. Nancy and her husband, Lincoln Russell, have served on numerous Opening Night at Tanglewood gala committees, and were co-chairs of 2009 Opening Night at Tanglewood. Nancy and Lincoln have generously supported the BSO’s Beyond Measure Campaign. They are members of the Koussevitzky Society at the Maestro level, and they have regularly supported Opening Nights at Tanglewood and Symphony Hall. Ann Fitzpatrick Brown, in the spirit of the Fitzpatrick family’s generosity, continues to support Tanglewood and is a member of the Koussevitzky Society at the Maestro level as well. Ann has also hosted many Tanglewood fundraising events at the historic and beautiful Blantyre Estate, including the 2011 and 2014 Wine Auction Dinners. Our Berkshire community and the BSO community mourn the loss of Jane and Jack, whose leadership, generosity, and jovial spirits will remain an inspiration to us all. Stu Rosner

30 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, August 24, 2:30pm Sponsored by COUNTRY CURTAINS, THE RED LION INN, and BLANTYRE

CHARLES DUTOIT conducting

ALL-BEETHOVEN PROGRAM

Fantasia in C minor for piano, chorus, and orchestra, Opus 80 YEFIM BRONFMAN NICOLE CABELL and MEREDITH HANSEN, sopranos TAMARA MUMFORD, mezzo-soprano NOAH STEWART and ALEX RICHARDSON, tenors JOHN RELYEA, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation are on page 35.

{Intermission}

This afternoon’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOODWEEK 8 SUNDAYPROGRAM 31 Symphony No. 9 in D minor, Opus 125 Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I—Presto—Tempo I Adagio molto e cantabile—Andante moderato—Tempo I— Andante—Adagio Presto—Allegro ma non troppo—Vivace—Adagio cantabile— Allegro moderato—Allegro—Allegro assai—Presto—Allegro assai— Allegro assai vivace, alla Marcia—Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato— Allegro ma non tanto—Prestissimo NICOLE CABELL, soprano TAMARA MUMFORD, mezzo-soprano NOAH STEWART, tenor JOHN RELYEA, bass TANGLEWOOD FESTIVAL CHORUS

Text and translation are on pages 40-41.

32 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Fantasia in C minor for piano, chorus, and orchestra, Opus 80 First performance: December 22, 1808, Theater an der Wien, Vienna, Beethoven, piano soloist. First BSO performance/first Tanglewood performance: August 7, 1959, Charles Munch cond., Rudolf Serkin, piano soloist; Festival Chorus. Most recent Tanglewood performance: July 14, 2012 (to conclude the gala “Tanglewood 75th Celebration”); Boston Symphony Orchestra, David Zinman cond., Peter Serkin, piano soloist; Tanglewood Festival Chorus; Emalie Savoy, Eudora Brown, Paula Murrihy, Alex Richardson, William Ferguson, and Richard Ollarsaba, vocal soloists (all being either former or current Vocal Fellows of the Tanglewood Music Center). After having contributed both as composer and performer to a series of charity concerts in 1807 and 1808, Beethoven received permission to use the Theater an der Wien for a concert for his own benefit (i.e., one in which he would receive any profits that might accrue) on December 22, 1808. He chose this opportunity to reveal to the world some of his major new compositions in a program that consisted entirely of first performances of his music. Among the new works were such major pieces as the Fourth Piano Concerto (for which Beethoven himself was to be the soloist) and the Fifth and Sixth symphonies, as well as the concert aria “Ah! perfido” and several movements from the Mass in C, Opus 86 (which had to be advertised as “hymns in the church style” because the censor did not allow liturgical music to be performed in theaters). That list of pieces would seem to be enough to exhaust an audience (not to mention an orchestra), especially when all of the works included were utterly unfamiliar, difficult, and performed with far too little rehearsal.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 33 But Beethoven decided that it wasn’t enough; he wanted a closing piece. He felt (with considerable justification) that it would not be fair to either the work or the audience to put the Fifth Symphony at the end of such a long program, although it would make a rousing conclusion, because people would simply be too tired to pay much attention to it. So he put it at the beginning of the second half (the Pastoral Symphony opened the evening) and quickly composed a work designed specifically as a concert-closer, employing all of the forces that had been gathered for the concert (chorus, orchestra, and piano soloist), arranged in a variation form designed for maximum variety of color and for “easy listening.” He went back to a song, “Gegenliebe” (WoO 118), that he had composed more than a dozen years previously, ordered a new text written in a hurry by the obscure poet Christian Kuffner, and set to work. The piece was finished too late for a careful rehearsal. (In any case, Beethoven and the orchestra, which was a “pick-up” group consisting of a heteroge- neous mixture of professionals and reasonably advanced amateurs, had already had such a falling-out during rehearsals that the orchestra would not consent to practice with Beethoven in the room—he had to listen from an anteroom at the back of the theater and communicate his criticisms to the concertmaster). When the time came for the performance, just about everything went wrong: the concert was running to four hours in length, the hall was unheated and bitterly cold, the soprano had already ruined the aria out of nervousness. To top it all off, the Choral Fantasy fell apart during the performance (apparently through some mistake in counting in the orchestra) and Beethoven stopped the performance to begin it again. The financial outcome of the evening for Beethoven is unknown, but it certainly had a psychologi- cal effect on him: he never played the piano in public again. The overall structure of the work is as bold as it is unusual: on the principle of grad- ually increasing the number of performers from the minimum to the maximum, Beethoven begins with an improvisatory introduction for solo piano, the finest

34 example we have written down of what his own keyboard improvisations must have been like. The orchestral basses enter softly in a march rhythm, inaugurating intro- ductory dialogue with the keyboard soloist hinting at the tune to come. Finally the pianist presents the melody which will be the basis for the remaining variations, and the finale is fully underway. One of the most striking things about the tune is the way it hovers around the third degree of the scale, moving away from it and then returning in smooth stepwise lines. Much the same description can be given of the main theme for the finale of the Ninth Symphony. Indeed, the Choral Fantasy is sometimes described as a kind of dry run for the Ninth, though that mighty work was still some fifteen years away. Still, at least the notion of variation treatment of a simple, almost hymn-like melody in the orchestra, followed by the unexpected appearance of voices, can be traced to this work. But of course the finale of the Ninth is the powerful culmination of an enormous symphonic edifice; the Choral Fantasy does not pretend to such impressive architectural power, yet it certainly provided Beethoven with a closing number that is at once lively and colorful, naively cheerful, and original in form.

STEVEN LEDBETTER

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

LUDWIG VAN BEETHOVEN Choral Fantasy, Opus 80

Schmeichelnd hold und lieblich klingen Radiant chords of music’s splendor unsers Lebens Harmonien. echoing life’s most joyous tune, Und dem Schönheitssinn entschwingen Like the growth of springtime ﬂowers, Blumen sich, die ewig blühn. lifts our hearts’ eternal bloom. Fried’ und Freude gleiten freundlich Peace and joy in soothing union, wie der Wellen Wechselspiel; like the ocean’s billowing spray— Was sich drängte rauh und feindlich, What had earlier seemed unfriendly, ordnet sich zu Hochgefühl. now unites in peaceful play. Wenn der Töne Zauber walten When the strength of music’s magic und des Wortes Weihe spricht, joins the word’s consuming might, Muss sich Herrliches gestalten, What springs forth is all-embracing, Nacht und Stürme werden Licht. turning dark and storm to light. Äuss’re Ruhe, inn’re Wonne Outer stillness, inner rapture, herrschen für den Glücklichen. for the fortunate prevail. Doch der Künste Frühlingssonne Yet the arts, like springtime sunshine, lässt aus beiden Licht entstehn. bring forth light throughout the world. Grosses, das in’s Herz gedrungen When the heart’s enraptured goodness blüht dann neu und schön empor. blooms forth new and fair again, Hat ein Geist sich aufgeschwungen, Then this spirit reaches skyward, hall’t ihm stets ein Geisterchor. with a heavenly “Amen.” Nehmt denn hin, ihr schönen Seelen, Take these gifts of art, kind spirits: froh die Gaben schöner Kunst. there’s no greater gift you’ll ﬁnd; Wenn sich Lieb und Kraft vermählen, For when love and strength are wedded, lohnt dem Menschen Götter-Gunst. Heaven praises Humankind. CHRISTIAN KUFFNER English version © MARC MANDEL

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 35 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] William Mercer

36 Ludwig van Beethoven Symphony No. 9 in D minor, Opus 125 First performance: May 7, 1824, Kärntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 25, 2013, Bernard Haitink cond.; Erin Wall, Tamara Mumford, Joseph Kaiser, and John Relyea, soloists; Tanglewood Festival Chorus, John Oliver, cond. Beethoven’s Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schiller’s “Ode to Joy”; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the “Heiligenstadt Testament”: “For so long now the heartfelt echo of true joy has been a stranger to me!” Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, brought him to the edge of madness. The idea of setting Schiller’s Ode to music was actually not a conception of Beetho- ven’s melancholy last decade. The poem, written in 1785 and embodying the revolutionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller’s utopian verses were the young Beethoven’s music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller’s fire-drunk hymn to friendship, marriage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the “Joy” theme, so in the finale it would be unveiled like a revelation. The dramatic progress of the Ninth is usually described as “darkness to light.” Scholar Maynard Solomon refines that idea into “an extended metaphor of a quest for Elysium.” But it’s a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme returns) appears not in the original D minor but in a strange

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 37 D major that erupts out of calm like a scream, sounding not triumphant but some- how frightening. As coda there’s a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven’s most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you’d whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven’s late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfold- ing in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the “Joy” theme. But why does this celebration of joy open with a dissonant shriek that Richard Wagner called the “terror fanfare,” shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.)This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompa- niments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: “Oh friends, not these sounds! Rather let’s strike up something more agreeable and joyful.” Soon the chorus is crying “Freude!”—“Joy!”—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching military march heroic in context (“Joyfully, like a hero toward victory”) but light unto satiric in tone, in a style the Viennese called “Turkish.” That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant (“Be embraced, you millions! Here’s a kiss for all the world!”). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead (“Seek him beyond the stars”), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale’s episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signifying that the world he’s embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path? In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves.

38 One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven’s Mass the chorus is declaiming “Dona nobis pacem,” the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven’s answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written “Finished with the help of God,” Beethoven wrote under it: “Man, help yourself!” In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller’s exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an unprecedented way for a composer, he stepped into history with a great ceremonial work that doesn’t simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you’re looking for the universal, here it is. One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale’s Joy theme, prefigured in bits and pieces from the beginning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? “Be embraced, you millions! This kiss for all the world!” run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and terror and simplicity and complexity, is itself Beethoven’s embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It’s the composer talking to everybody, to history. There’s something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

JAN SWAFFORD Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at The Boston Conservatory and recently completed a biography of Beethoven, Beethoven: Anguish and Triumph, published earlier this month by Houghton Mifflin.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 39 Text to the ﬁnale of Beethoven’s Ninth Symphony, based on Schiller’s ode, “To Joy”

O Freunde, nicht diese Töne! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer’s nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brüsten der Natur, At Nature’s breasts. Alle Guten, alle Bösen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Küsse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, geprüft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels prächt’gen Across the glorious landscape of the Plan, heavens, Laufet, Brüder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, BSO Archives

40 Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Über Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schöner Götterfunken! Joy, beauteous, godly spark!

TANGLEWOODWEEK 8 TEXTANDTRANSLATION 41 Guest Artists

To read about Charles Dutoit, see page 25.

Yefim Bronfman Acclaimed for his solo recitals, prestigious orchestral engagements, and many recordings, Yefim Bronfman is widely regarded as one of today’s most talented virtuoso pianists. Summer festivals at Tanglewood, Aspen, Vail, La Jolla, and a residency at the Santa Fe Chamber Music Festival provide the starting point for his 2014-15 season, which will include performances in the United States with the symphony orchestras of Chicago (with which he also appears in Carnegie Hall), St. Louis, San Francisco, Dallas, Seattle, Atlanta, and Pittsburgh, as well as the New World Symphony, Metropolitan Opera Orchestra, and New York and Los Angeles philharmonics. In December with the Berlin Philharmonic he will perform the world premiere of a concerto written for him by Jörg Widmann, as well as Magnus Lindberg’s Concerto No. 2 with the Gothenburg Symphony Orchestra and the London Philharmonic. With the Cleveland Orchestra and Franz Welser- Möst he will play and record both Brahms concertos, repertoire he will also take to Milan’s La Scala with Valery Gergiev. After a break of many years, he will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and Esa-Pekka Salonen and to Singapore, Hong Kong, Taipei, Beijing, Sydney, and Mel- bourne. In the spring he will join Anne-Sophie Mutter and Lynn Harrell for their first United States tour together. Highlights of 2013-14 included orchestral concerts, chamber concerts, and a tour as the New York Philharmonic’s artist-in-residence, as well as a tour to Australia with Amsterdam’s Concertgebouw as part of that orchestra’s worldwide centenary celebrations. Widely praised for his solo, chamber, and orchestral

42 recordings, Mr. Bronfman was nominated for a 2009 Grammy Award for his Deutsche Grammophon recording of Esa-Pekka Salonen’s Piano Concerto with Salonen conducting; he won a Grammy in 1997 for his recording of the three Bartók piano concertos with Salonen and the Los Angeles Philharmonic. His performances of Beethoven’s Emperor Concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival and of Rachmaninoff’s Third Concerto with the Berlin Philharmonic and Sir Simon Rattle are available on DVD. His most recent CD releases are the 2014 Grammy-nominated recording of Magnus Lindberg’s Piano Concerto No. 2 (commissioned for him) with the New York Philharmonic and Alan Gilbert, Tchaikovsky’s Piano Concerto No. 1 with Mariss Jansons and the Bayerischer Rund- funk, a recital disc entitled “Perspectives,” and the five Beethoven piano concertos and Triple Concerto (with Gil Shaham and Truls Mørk) with the Zurich Tonhalle under David Zinman. Born in Tashkent (Soviet Union) in 1958, Yefim Bronfman moved to Israel with his family in 1973. A student of Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University, he also studied in the United States with Rudolf Firkuˇsn´y, Leon Fleisher, and Rudolf Serkin. He became an American citizen in July 1989. Mr. Bronfman made his Boston Symphony Orchestra debut with subscription concerts in Symphony Hall in January 1989 and his Tanglewood debut in August 1990, subsequently appearing regularly with the orchestra at both venues. His most recent Tanglewood appearance with the orchestra was last August, as soloist in Beethoven’s Piano Concerto No. 3 with Christoph von Dohnányi conducting. His most recent subscription appearances were this past March, when he performed all five Beethoven piano concertos and the Triple Concerto, also with Christoph von Dohnányi on the podium.

Nicole Cabell In 2013-14, Nicole Cabell, the 2005 winner of the BBC Singer of the World Competition in Cardiff, made role debuts as Violetta in La traviata with Michigan Opera Theatre and as Medora in Il corsaro with Washington Concert Opera. She also reprised the role of her triumphant San Francisco Opera debut, Giulietta in I Capuleti e i Montecchi, with Lyric Opera of Kansas City. In concert, she made her Paris debut in Poulenc’s Stabat Mater, performed in Spain with the Orquesta Sin- fónica de Galicia in a Barber/Mahler program, and toured with the Royal Philharmonic Orchestra and Charles Dutoit in Poulenc’s Gloria, a piece she also sang in London with the RPO, as well as appearing with the BBC Symphony in Elgar’s The Apostles under Sir Andrew Davis. Further concert appearances include Beethoven’s Symphony No. 9 with the Dallas Symphony and Jaap van Zweden in Vail, Colorado, and with the Baltimore Symphony and Marin Alsop; a Barber/Brahms program in Nashville with Giancarlo Guerrero, and an evening of French opera arias and duets with Stephen Costello and Lyric Opera of Baltimore. Other recent and upcoming engagements include a recital in Chicago, her Paris Opera debut, and return performances with both Cincinnati Opera and Michigan Opera Theatre. Highlights of previous seasons include her role and company debuts as Giulietta at San Francisco Opera; singing a signature role, Adina in L’elisir d’amore, for her debut at the Teatro del Liceu in Barcelona; a return to the New National Theatre in Tokyo, and Mozart’s Requiem at Carnegie Hall. On the opera stage she has sung Mozart’s Countess, Pamina, and Donna Elvira, such roles in the French repertoire as Juliette in Roméo et Juliette, Leila in Les Pˆecheurs de perles, and Micaëla in Carmen, as well as Musetta in La bohe`me at the Metropolitan Opera and at the Teatro Colón in Buenos Aires, and Adina and the Countess at Lyric Opera of Chicago. She made her Metropolitan Opera debut in 2008-09 as Pamina, followed by Adina. In concert she has appeared in New York, London, Chicago, Cincinnati, Toronto, Atlanta, San Diego, St. Petersburg, Copenhagen, Prague, Munich, Frankfurt, Dortmund, Ottawa,

TANGLEWOODWEEK 8 GUESTARTISTS 43 Indianapolis, and Raleigh. She appeared twice in recital at Carnegie Hall, first for Marilyn Horne’s gala concert, then as part of Jessye Norman’s Honor Festival, and gave a series of cabaret concerts at the Orange County Performing Arts Center. Her solo debut album on Decca, “Soprano,” was a Gramophone “Editor’s Choice” and won the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique and an Echo Klassik Award in Germany. Another important recording project was the title role of Donizetti’s Imelda de’ Lambertazzi for Opera Rara, which she also performed in concert in London. Winner of numerous awards, Nicole Cabell holds a bachelor’s degree in vocal performance from the Eastman School of Music. She has appeared twice previously with the Boston Symphony Orchestra, both times at Tanglewood: as a soloist in Beethoven’s Ninth Symphony under Kurt Masur in August 2010, and in August 2011 as Clara in a concert performance of Porgy and Bess led by Bramwell Tovey. She will make her subscription series debut in the opening program of the BSO’s 2014-15 season, as soloist in Villa-Lobos’s Bachianas brasileiras No. 5 for soprano and cellos.

Meredith Hansen Soprano Meredith Hansen has garnered critical acclaim for her performances in Rossini’s Petite Messe solennelle with the Masterworks Chorale, and as Antonia in Les Contes d’Hoffmann and Marzelline in Fidelio. This week brings her Tanglewood debut in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra; she made her BSO debut in April 2010 in Mendelssohn’s Elijah under Rafael Frühbeck de Burgos, a performance repeated for her Carnegie Hall debut. In 2014-15 she sings Donna Anna in Don Giovanni in a re-engagement with Boston Lyric Opera. In 2013-14 she returned to the Metropolitan Opera for Borodin’s Prince Igor and sang the First Lady in The Magic Flute for Boston Lyric Opera. She joined the Metropolitan Opera roster in 2012-13 for Carmen, Das Rheingold, and Götterdämmerung, and was Musetta in La bohème with Cedar Rapids Opera Theatre. She sang arias from Eugene Onegin, The Barber of Seville, and The Marriage of Figaro in concert at Boston’s Hatch Shell with the Landmarks Orchestra; Carmina burana with the Charlotte Symphony; Poulenc’s Gloria with the Plymouth Philharmonic; Beethoven’s Symphony No. 9 with the Greensboro Symphony; Mozart’s Missa Brevis and an opera recital in Aiken, SC; and Beatrice in Boston Lyric Opera’s new production of John Musto’s The Inspector. In 2010-11 she was a featured performer with the BLO Signature Series (alongside renowned mezzo-soprano Joyce Castle), was Marzelline for her Opera Boston debut, made her role debut as Gretel in Hansel and Gretel with BLO and her Jordan Hall debut as Donna Anna in Rob Kapilow’s “What Makes It Great: Don Giovanni,” and was soloist in Beethoven’s Symphony No. 9 with the Bozeman Symphony. Other highlights include her mainstage BLO debut as Frasquita in Carmen under Keith Lockhart, Vaughan Williams’s Dona Nobis Pacem with the Plymouth Philharmonic, and the Johnstown Symphony Orchestra Opera Gala. A Richard Tucker Foundation Career Grant nominee, Ms. Hansen was chosen for the final rounds of the 45th Annual Francisco Viñas Singing Contest in Barcelona, Spain, and was awarded first place in the Charles Lynam Competition, the Violetta DuPont Vocal Competition, and the Opera Birmingham Competition (where she was also selected as the audience favorite). She has been a regional semi-finalist and regional finalist in the Metropolitan Opera National Council Auditions; was the 2010 recipient of the Stephen Shrestinian Award for Excellence from Boston Lyric Opera, which named her an Emerging Artist for 2011-12; and has received grant support from the Gerda Lissner Foundation. Originally from Cohasset, Massachusetts, Meredith Hansen received her undergradu- ate training at the Eastman School of Music and the University of Connecticut and her master’s degree from Boston University, where she spent a year of post-graduate study as an intern with the Opera Institute.

44 Tamara Mumford During the 2013-14 season mezzo-soprano Tamara Mumford returned to the Metro- politan Opera for A Midsummer Night’s Dream and Wozzeck, and appeared in concert with the New York Philharmonic and the symphony orchestras of Baltimore, Seattle, Dallas, and Portland. This summer she appears in concert at the Vail Bravo! Music Festival, returns to the Hollywood Bowl for Cavalleria rusticana with Gustavo Dudamel, and makes her Caramoor Festival debut in Lucrezia Borgia. Next season brings returns to the Los Angeles Philharmonic and Utah Symphony Orchestra; debuts at the Philadelphia Orchestra, the Desert Song Festival in Tucson, Arizona, and Dallas Opera; and her return to Opera Philadelphia for the world premiere of Daniel Schnyder’s Yardbird, a chamber opera about jazz legend Charlie Parker. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her debut there as Laura in Luisa Miller, subsequently appearing as Smeaton in Anna Bolena, and in Rigoletto, Ariadne auf Naxos, Il trittico, Parsifal, Idomeneo, Cavalleria rusticana, Nixon in China, The Queen of Spades, the complete Ring cycle, and The Magic Flute. Other recent

TANGLEWOODWEEK 8 GUESTARTISTS 45 opera engagements have included the title role in the American premiere of Henze’s Phaedra and the title role in The Rape of Lucretia at Opera Company of Philadelphia, Dido in Dido and Aeneas at Glimmerglass Opera, Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and BBC Proms, Isabella in L’italiana in Algeri at Palm Beach Opera, Lucretia at the Castleton Festival under Lorin Maazel, the title role in Carmen at the Crested Butte Music Festival, the Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano in Italy, and the title role in La Cenerentola at Utah Festival Opera. She recently toured the United States and Europe in the world premiere of John Adams’s oratorio, The Gospel According to the Other Mary, with Gustavo Dudamel and the Los Angeles Philharmonic. Career highlights also include a concert with James Levine and the Met Chamber Orchestra in Zankel Hall, her Carnegie Hall debut as part of the “Richard Goode and friends” concert series in Zankel Hall, and appearances in the Musicians From Marlboro’s summer festivals and U.S tours. In recital she has been presented in New York by both the Marilyn Horne Foundation and the Metropolitan Museum of Art, and in Philadelphia by the Philadelphia Chamber Music Society. She has appeared in the Metropolitan Opera’s “Live in HD” broadcasts of Anna Bolena, Das Rheingold, Gotterdämmerung, The Magic Flute, Nixon in China, Manon Lescaut, and Il trittico. She recorded Beethoven’s Cantata on the Death of Emperor Joseph II with Michael Tilson Thomas and the San Francisco Symphony (Avie) and in 2005 was one of sixteen singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. A native of Sandy, Utah, and the winner of numerous awards and competitions, she holds a bachelor’s degree from Utah State University. Her only previous appearance with the BSO was as soloist in Beethoven’s Ninth Symphony last August, with Bernard Haitink conducting.

Noah Stewart Noah Stewart’s musical development started in Harlem, where he studied classical music at the Harlem School of the Arts. When he was twelve, his choir teacher encour- aged him to pursue a music career; he began doing voice-overs for Sesame Street and television school specials, and won first place in the New England Music Competition in Boston. He attended Fiorello LaGuardia High School, where he performed his first opera (La costanza in amor vince l’inganno). He also sang back-up vocals for such pop artists as Hootie and the Blowfish and Coolio, but ultimately committed himself to pursuing an operatic career. Recommended by his mentor, Leontyne Price, he attended the Juilliard School on full scholarship, singing Acis in Acis and Galatea on tour in Germany with the Bach Society of Columbia in lieu of his graduation ceremony. Accepted into the San Francisco Opera’s Merola Program, he sang the Wizard in Conrad Susa’s Transformations there, reprising the role at the Wexford Music Festival. He subsequently became a San Francisco Opera Adler Fellow; numerous debuts soon followed, including T. Morris Chester in the world premiere of Philip Glass’s Appomattox, and Malcolm and Macduff in Macbeth, stepping into the mainstage role with only fifteen minutes’ notice. He sang the Prince in the first fully staged production of John Adams’s A Flowering Tree with Chicago Opera Theater. Mr. Stewart has been awarded prizes in the Palm Beach Opera, Leontyne Price, George London, Licia Albanese, and Opera Index competitions, and recently placed first in the Mario Lanza Competition for tenors. He joined the Metropolitan Opera roster in fall 2008, and has sung the Prince (A Flowering Tree) at Chicago Opera Theater; Cavaradossi, Ismaele, Nadir, and Rodolfo for Michigan Opera Theater; Luigi (Il tabarro) at the Castleton Festival under Lorin Maazel; Rodolfo with Opera Carolina and with the Orlando Philharmonic; Narraboth at Arizona Opera, Radames at the Glimmerglass Festival, the title role in Faust at Atlanta Opera, and

46 Rodolfo at both Florentine Opera and New Orleans Opera. Abroad he has performed Don José in South Africa and at the Royal Albert Hall, Pinkerton at Opera North, and Peter Sellars’s production of Purcell’s Indian Queen at the Teatro Real Madrid and Opera Perm in Russia. His debut album for Decca became a major success in the United Kingdom, topping the classical charts for seven weeks. In spring 2012 he made a critically lauded debut at Covent Garden as Hassan in Judith Weir’s Miss Fortune, a role he premiered at the Bregenz Fesival in summer 2011. Recent and upcoming engagements include a return to the United Kingdom for performances at Hampton Court Palace, Tabernacle Chapel in Wales, and Llangollen’s Music Festival, debuts at the Rochester Festival and Tanglewood, La bohème with Nashville Opera, returns to Michigan Opera Theatre and Covent Garden as Pinkerton, and his second solo tour of the United Kingdom. He makes his BSO and Tanglewood debuts with this afternoon’s performance of Beethoven’s Choral Fantasy.

Alex Richardson A former Fellow of the Tanglewood Music Center, Alex Richardson has performed here under Rafael Frühbeck de Burgos and James Levine in programs featuring works by Stravinsky and Wagner. He returned in 2012 as a soloist in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra under David Zinman in Tanglewood’s 75th Anniversary Gala. In recent seasons he covered the title role of Werther for Washington National Opera, debuted as Rinuccio (Gianni Schicchi) at the Princeton Festival, where he returned the following season as the Steers- man (Die fliegende Holländer), and sang Ernesto in Don Pasquale with Boston Midsummer Opera. He has sung the roles of Alfred in Die Fledermaus with Opera Southwest and Will Tweedy in Carlisle Floyd’s Cold Sassy Tree with Amarillo Opera; made his European debut as Alfredo in La traviata with Festival de Belle- Île, France, and returned the following season as the Duke in Rigoletto. Among his other roles are Fenton in Falstaff, Camille in The Merry Widow, and the title role in Albert Herring ; Cavaradossi in Tosca and Rodolfo in La bohème with Opera Western Reserve; Vaudémont in Iolanta with Dicapo Opera; André (cover) in Prima Donna with New York City Opera; the Psychologist in The Good Soldier Schweik with Long Beach Opera; his role debut as Werther in Denton, Texas, and Rinuccio with the Northern Lights Music Festival. He sang the role of the Soldier Ruiz Alonzo in Osvaldo Golijov’s Ainadamar at Santa Fe Opera and performed the role of the Bullfighter in that same opera with the Atlanta and Chicago symphonies at the Ojai and Ravinia festivals, respectively. He has been Cavaradossi with Winter Opera St. Louis; Tom Buchanan in John Harbison’s The Great Gatsby with Emmanuel Music both in Boston and at Tangle- wood in 2013; and Rodolfo with Opera Western Reserve. His 2013-14 performances included Romeo in Roméo et Juliette with St. Petersburg Opera; the Second Jew in Salome this past March with the BSO (his BSO subscription series debut); Molqi in The Death of Klinghoffer with Long Beach Opera; a Los Angeles Philharmonic debut in Louis Andriessen’s De Materie under Reinbert de Leeuw; and his Spoleto USA debut as Vánaˇ Kudrjaš in Kátya Kabanová with Anne Manson conducting. In the 2014-15 season he debuts in the title role of Hamlet in Franco Faccio’s Amleto with Opera Southwest; sings the Second Jew with Opera San Antonio; is tenor soloist in the Verdi Requiem with the Oratorio Society of New York under Kent Tritle, and returns to the Boston Symphony Orchestra in March 2015 for Szymanowski’s King Roger with Charles Dutoit conducting.

TANGLEWOODWEEK 8 GUESTARTISTS 47 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

48 John Relyea John Relyea continues to distinguish himself as one of today’s finest basses, appearing at such celebrated opera houses as the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, the Canadian Opera Company, the Royal Opera–Covent Garden, Paris Opera, Bayerische Staatsoper, Vienna State Opera, Theater an der Wien, and the Mariinksy Theater. His roles include the title roles in Attila, Don Quichotte, Attila, and Aleko; Figaro in Le nozze di Figaro, Bluebeard in Bartók’s Bluebeard’s Castle, Zaccaria in Nabucco, Bertram in Roberto le Diable, Raimondo in Lucia di Lammermoor, Colline in La bohème, Don Alfonso in Lucrezia Borgia, Don Basilio in Il barbiere di Siviglia, Alidoro in La Cenerentola, Giorgio in I puritani, Banquo in Macbeth, Garibaldo in Rodelinda, Méphistophélès in both Faust and La Damnation de Faust, the Four Villains in Les Contes d’Hoffmann, Escamillo in Carmen, Marke in Tristan und Isolde, Caspar in Der Freischütz, Nick Shadow in The Rake’s Progress, Collatinus in The Rape of Lucretia, and King René in Iolanta. In concert he appears regularly with the major orchestras of Boston, Chicago, Cleveland, Philadelphia, New York, Pittsburgh, and Atlanta, as well as with the Swedish Radio Symphony, Scottish Chamber Orchestra, Philharmonia Orchestra, and Berlin Philharmonic. He has appeared at the Tanglewood, Ravinia, Blossom, Cincinnati May, Bravo! Vail, Lanaudière, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, and the BBC Proms. In recital he has been presented at New York’s Weill Hall and Metropolitan Museum of Art, London’s Wigmore Hall, the University Musical Society in Ann Arbor, and the University of Chicago Presents series. The many conductors with whom he has worked include Bicket, Boulez, Sir Colin Davis, Dohnányi, Dudamel, Eschenbach, Gergiev, Haitink, Jansons, Levine, Maazel, Mackerras, Marriner, Mehta, Nagano, Norrington, Ozawa, Pappano, Rattle, Runnicles, Salonen, Sawallisch, Spano, and Volkov. His recordings include Verdi’s Requiem (LSO Live), Idomeneo with Sir Charles Mackerras and the Scottish Chamber Orchestra (EMI), Mahler’s Symphony No. 8 with Sir Simon Rattle and the City of Birmingham Symphony Orchestra (EMI), and Metropolitan Opera DVD releases of Don Giovanni, I puritani, and Die Meistersinger von Nürnberg (Deutsche Grammophon), and Macbeth (in the Metropolitan Opera “HD Live” series). This season he returned to the Metropolitan Opera as the Water Sprite in Rusalka, appeared in a new production of I lombardi at Hamburg State Opera, and appeared in concert with the Cleveland Orchestra, National Symphony, Toronto Symphony, and the Hamburg NDR. This summer he returns to the Bayerische Staats- oper for Lucrezia Borgia and appears in concert with the San Francisco Symphony and at the Ravinia Festival. Next season he returns to Lyric Opera of Chicago for Anna Bolena and Tannhäuser, to Canadian Opera for Bluebeard’s Castle, and to the Gran Teatre del Liceu for Il barbiere di Siviglia. He is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. John Relyea has appeared on numerous occasions with the BSO since his Tanglewood debut in 1999, singing music of Beethoven (including the Ninth Symphony at Tanglewood in 2006, 2010, 2012, and again for his most recent BSO appearance last summer), Mahler (the Symphony No. 8 with James Levine conducting at both Symphony Hall and Tanglewood), Mozart (the Great C minor Mass and the Requiem), Verdi (Requiem), and Walton (Belshazzar’s Feast).

TANGLEWOODWEEK 8 GUESTARTISTS 49 Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus participates in performances of Mahler’s Symphony No. 2 with conductor Manfred Honeck (July 26), excerpts from Verdi’s Nabucco and Aida with Jacques Lacombe (July 27), Prokofiev’s Alexander Nevsky cantata with Stéphane Denève (August 15), a concert performance of Bernstein’s Candide with Bramwell Tovey (August 16), and Beethoven’s Choral Fantasy and Ninth Symphony with Charles Dutoit (August 24). In addition, the chorus under John Oliver’s direction performs its annual Friday Prelude Concert in Ozawa Hall, a program this year of music by Shostakovich and Tavener (August 22). Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston- area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella

50 music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. 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 Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and

TANGLEWOODWEEK 8 GUESTARTISTS 51 Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In Febru- ary 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. Last summer’s 2013 Tanglewood season marked the 50th anniversary of Mr. Oliver’s Tanglewood debut.

52 Tanglewood Festival Chorus John Oliver, Conductor (Beethoven Choral Fantasy and Symphony No. 9, August 24, 2014)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Deborah Abel • Carol Amaya • Alison Anderson • Aimée Birnbaum • Joy Emerson Brewer • Alison M. Burns • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Lorenzee Cole # • Lisa Conant • Emilia DiCola • Mary A.V. Feldman # • Margaret Felice • Kaila J. Frymire • Diana Gamet • Ashley Gryta • Beth Grzegorzewski • Alexandra Harvey • Eileen Huang • Maureen Renee Hughes • Stephanie Janes • Polina Dimitrova Kehayova • Nancy Kurtz • Jaylyn Olivo • Laurie Stewart Otten • Avery Peterman • Adi Rule • Melanie Salisbury # • Johanna Schlegel • Joan P. Sherman § • Nora Anne Watson • Sarah Wesley • Lauren Woo Mezzo-Sopranos

Anete Adams • Virginia Bailey • Betty Blanchard Blume • Lauren A. Boice • Donna J. Brezinski • Sharon Brown • Janet L. Buecker • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride # • Mara Goldberg • Lianne Goodwin • Rachel K. Hallenbeck • Julie Hausmann • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Louise Morrish • Tracy Elissa Nadolny • Andrea Okerholm Huttlin • Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Karen Thomas Wilcox Tenors

Brad W. Amidon • Armen Babikyan • John C. Barr # • Ryan Casperson • Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • William Cutter • Kevin F. Doherty, Jr. • Ron Efromson • Keith Erskine • Aidan Christopher Gent • Len Giambrone • Leon Grande • J. Stephen Groff # • Matthew Jaquith • James R. Kauffman # • Kwan H. Lee • Lance Levine • Henry Lussier § • David Norris # • Jonathan Oakes • Lukas Papenfusscline • Kevin Parker • Dwight E. Porter * • Peter Pulsifer • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Stephen E. Smith • Adam Van der Sluis • Joseph Y. Wang • Hyun Yong Woo Basses

Nicholas Altenbernd • Thomas Anderson • Vartan T. Babikyan • Nathan Black • Daniel E. Brooks # • Stephen J. Buck • Paulo César Carminati • Matthew Collins • Marc DeMille • Jeff Foley • Mark Gianino • Jim Gordon • Jay S. Gregory # • Andrew Gribbin • Jeramie D. Hammond • William Hurwitz • Marc J. Kaufman • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Timothy Lanagan # • David K. Lones # • Eryk P. Nielsen • Stephen H. Owades § • Sam Filson Parkinson • Bradley Putnam • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Stefan Sigurjonsson • Kenneth D. Silber • Craig A. Tata • Alexander Teplansky • Bradley Turner # • Thomas C. Wang # • Terry Ward

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager

TANGLEWOODWEEK 8 GUESTARTISTS 53 Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al ‡ Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Susie and Stuart Hirshﬁeld • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

54 Prelude

Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Gigi Douglas and David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garﬁeld • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon •

TANGLEWOODWEEK 8 SOCIETYGIVINGATTANGLEWOOD 55 Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Michael Mancollis • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased BSO Archives

August at Tanglewood

Friday, August 1, 6pm (Prelude Concert) Friday, August 8, 6pm (Prelude Concert) MEMBERS OF THE BSO MEMBERS OF THE BSO Music of Schnittke and Shostakovich Music of Szymanowski and Debussy

Friday, August 1, 8:30pm Friday, August 8, 8:30pm The Serge and Olga Koussevitzky BSO—LEONARD SLATKIN, conductor Memorial Concert GIL SHAHAM violin BSO—MARCELO LEHNINGER, conductor JOHN FERRILLO, oboe JEAN-YVES THIBAUDET, piano BOLCOM Circus Overture (world premiere; THOMAS ROLFS, trumpet (Shostakovich) BSO commission) TCHAIKOVSKY Serenade for Strings BARLOW The Winter’s Past, for oboe and SHOSTAKOVICH Piano Concerto No. 1 strings SCHUMANN Symphony No. 4 BARBER Violin Concerto ELGAR Enigma Variations Saturday, August 2, 10:30am Celebrating Leonard Slatkin’s 70th birthday Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 3 Saturday, August 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 2, 8:30pm BSO program of Sunday, August 10 John Williams’ Film Night BOSTON POPS ORCHESTRA Saturday, August 9, 8:30pm JOHN WILLIAMS, conductor BSO—STÉPHANE DENÈVE, conductor LEONIDAS KAVAKOS, violin Sunday, August 3, 2:30pm DEBUSSY Prelude to The Afternoon of a Faun BSO—JUANJO MENA, conductor SZYMANOWSKI Violin Concerto No. 2 AUGUSTIN HADELICH, violin TCHAIKOVSKY Symphony No. 4 HAYDN Symphony No. 6, Morning MOZART Violin Concerto No. 4 in D, K.218 Sunday, August 10, 2:30pm BEETHOVEN Symphony No. 2 BSO—DAVID ZINMAN, conductor YO-YO MA, cello Tuesday, August 5, 8:30pm (Gala Concert) Tanglewood on Parade ALL-TCHAIKOVSKY PROGRAM (Grounds open at 2pm for music and Polonaise from Eugene Onegin; Andante activities throughout the afternoon) cantabile for cello and strings; Variations on a Rococo Theme, for cello and orchestra; BSO, BOSTON POPS ORCHESTRA, and Symphony No. 6, Pathétique TMC ORCHESTRA STÉPHANE DENÈVE, KEITH LOCKHART, Monday, August 11, 8pm ANDRIS POGA, LEONARD SLATKIN, and TMC Orchestra—STÉPHANE DENÈVE and JOHN WILLIAMS, conductors TMC Fellow DANIEL COHEN, conductors Music of Shostakovich, Gershwin, Glinka, TMC Vocal Fellows Brubeck, Williams, and Tchaikovsky All-Berlioz program Fireworks to follow the concert Wednesday, August 13, 8pm Wednesday, August 6, 8pm JEREMY DENK, piano THE DEUTSCHE KAMMERPHIL- Music of Ives and J.S. Bach HARMONIE BREMEN PAAVO JÄRVI, conductor Thursday, August 14, 7:30pm LARS VOGT, piano PHILHARMONIA BAROQUE ORCHESTRA All-Brahms program NICHOLAS MCGEGAN, conductor AMANDA FORSYTHE, AMY FRESTON, Thursday, August 7, 8pm DOMINIQUE LABELLE, CÉLINE RICCI, EMANUEL AX, piano ROBIN BLAZE, DREW MINTER, and JEFFREY LEONIDAS KAVAKOS, violin FIELDS, vocal soloists YO-YO MA, cello HANDEL Teseo All-Brahms program Extended concert; sung in Italian with English supertitles

Friday, August 15, 6pm (Prelude Concert) Friday, August 22, 8:30pm MEMBERS OF THE BSO BOSTON POPS ORCHESTRA NIKOLAI LUGANSKY, piano KEITH LOCKHART, conductor Music of Handel-Halvorsen and Franck “Oz with Orchestra” The Boston Pops Orchestra plays Harold Arlen’s Friday, August 15, 8:30pm musical score live as a newly re-mastered print BSO—STÉPHANE DENÈVE, conductor of the classic 1939 MGM film The Wizard of EMANUEL AX, piano Oz is screened with the original vocals and ELENA MANISTINA, mezzo-soprano dialogue intact. TANGLEWOOD FESTIVAL CHORUS Saturday, August 23, 10:30am BEETHOVEN Piano Concerto No. 5, Emperor Open Rehearsal (Pre-Rehearsal Talk, 9:30am) PROKOFIEV Alexander Nevsky BSO program of Sunday, August 24

Saturday, August 16, 10:30am Saturday, August 23, 2:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Family Concert featuring the BSO program of Saturday, August 16 BOSTON CELLO QUARTET

Saturday, August 16, 8:30pm Saturday, August 23, 8:30pm BSO—BRAMWELL TOVEY, conductor BSO—CHARLES DUTOIT, conductor Vocal soloists including NICHOLAS PHAN, KIRILL GERSTEIN, piano ANNA CHRISTY, KATHRYN LEEMHUIS, FREDERICA VON STADE, BEAU GIBSON, BERLIOZ Roman Carnival Overture PAUL LAROSA, and RICHARD SUART RACHMANINOFF Rhapsody on a Theme of Paganini BERNSTEIN Candide RESPIGHI Roman Trilogy: Roman Festivals; Concert performance sung in English Fountains of Rome; Pines of Rome Sunday, August 17, 2:30pm Sunday, August 24, 2:30pm The Leonard Bernstein Memorial Concert BSO—CHARLES DUTOIT, conductor TMC ORCHESTRA—CHARLES DUTOIT, YEFIM BRONFMAN, piano conductor NICOLE CABELL, MEREDITH HANSEN, NIKOLAI LUGANSKY, piano TAMARA MUMFORD, NOAH STEWART, STRAVINSKY Scherzo fantastique ALEX RICHARDSON, and JOHN RELYEA, RACHMANINOFF Piano Concerto No. 3 vocal soloists STRAVINSKY The Firebird (complete) TANGLEWOOD FESTIVAL CHORUS

Sunday, August 17, 8pm ALL-BEETHOVEN PROGRAM Choral Fantasy; Symphony No. 9 “THE LAST SOUTHERN GENTLEMEN” with ELLIS MARSALIS, piano, and his son, Sunday, August 24, 8pm DELFEAYO MARSALIS, trombone, perform- MARIA SCHNEIDER ORCHESTRA ing standards and original compositions from their album of the same name Thursday, August 28, 8pm Monday, August 18, 7pm WAIT WAIT…DON’T TELL ME! THE BEACH BOYS Friday, August 29, 7pm Friday, August 22, 6pm (Prelude Concert) TRAIN TANGLEWOOD FESTIVAL CHORUS Saturday, August 30, 7pm JOHN OLIVER, conductor JOSH GROBAN with the Music of Shostakovich and Tavener BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART, conductor MEMBERS OF THE TANGLEWOOD FESTIVAL CHORUS

Sunday, August 31, 2:30pm TONY BENNETT with special guest ANTONIA BENNETT

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to sponsor the Boston Pops at Tanglewood this summer, and proud to be the Official Sponsor of Inspiration. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast. Learn more at VisitSarasotaArts.org.

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • L.A. Communications • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru – Hyundai Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA. LEFFERT J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel – Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn •• The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D. • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, LCSW • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Wheeler & Taylor Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services 2Filter.com • CLASSICAL TENTS AND PARTY GOODS • Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

Alli and Bill Achtmeyer • Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall