Table of Contents | Week 18

7 bso news 15 on display in hall 16 the symphony 19 completing the circle: wagner’s brave new world in the concert hall by thomas may 25 this week’s program

Notes on the Program

26 The Program in Brief… 27 35 43 Béla Bartók 51 To Read and Hear More…

Guest Artists

55 Rafael Frühbeck de Burgos 56

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

program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO assistant principal Cathy Basrak by Stu Rosner

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 18 trustees and overseers 3

photos by Michael J. Lutch

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

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

† Deceased

week 18 trustees and overseers 5

BSO News

BSO Archives Spotlights Paul Hindemith and his “Konzertmusik” for Strings and Brass Being played here this week, Paul Hindemith’s Konzertmusik for Strings and Brass—a BSO 50th-anniversary commission given its world premiere by and the Boston Symphony Orchestra in April 1931—was one of four Hindemith works given pre- mieres by Koussevitzky and the orchestra: the others were the for Orchestra, an American premiere in March 1926; the Concerto for , an American premiere in April 1940, with then Richard Burgin as soloist; and the Concerto for , a world premiere in February 1941, with as soloist. A special display case set up by the BSO Archives, audience-right at the stage end of the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor), includes Hindemith’s original manuscript of the Konzertmusik along with a program book and reviews from the premiere performance; a sketchbook for the , and a 1944 letter from Hindemith to longtime BSO annotator John N. Burk, among other things.

BSO Symposium Series for Music Educators New this year from the BSO’s Department of Education and Community Engagement, a free “Symposium Series for Music Educators” offers music teachers the opportunity to learn instrumental methods and techniques from BSO musicians in a focused workshop setting, thereby providing opportunities for teachers and BSO musicians to interact directly; affording BSO players the opportunity to serve as a direct resource for the advancement of quality in New schools; and building an informal network of support and collaboration among area teachers from a wide variety of districts and back- grounds. The next session, scheduled for Wednesday, March 13, from 4:30-6 p.m. at Sym- phony Hall, is entitled “Triangle to Timpani: Percussion Methods with BSO Percussionists Daniel Bauch and Kyle Brightwell.” Please note that symposium sessions are intended for band and orchestra directors at the middle and high school levels, although non-educators are welcome to audit on a space-available basis. There is no fee, but because space is limited, participants must register in advance. Further information, and the registration form, can be found at bso.org, under the “Education & Community” tab on the BSO’s home page.

BSO Community Chamber Concerts The BSO is happy to continue offering free Community Chamber Concerts by BSO musicians on Sunday afternoons at 3 p.m. in locations throughout the greater Boston area, specifically for communities whose access to the BSO is limited by distance or economics. The Com- munity Chamber Concerts are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the

week 18 bso news 7

BSO over time. Each program lasts about an hour and is followed by a coffee-and-dessert reception for and musicians. Upcoming concerts include performances at the Strand Theater in Dorchester on March 3 (Beethoven and Schubert), and at the Kennedy School in Somerville (Hindemith and Mozart) on March 10. In addition, both of these con- certs will feature a special pre-performance by community musicians beginning at 2:30 pm. These free concerts are made possible in part by a generous grant from the Lowell Institute. For tickets, please call SymphonyCharge at 1-888-266-1200.

Free Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next two concerts in this series will take place on Friday, March 1 (music of Beethoven and Schubert), and Friday, March 8 (string quartets by Hindemith and Mozart). These free concerts are made possible in part by a generous grant from the Lowell Institute. individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Akiko Shiraki Dynner Memorial involved with the BSO family, attending con- Concert, Saturday, March 2, 2013 certs, Opening Nights, Board meetings, and numerous dinners and special functions. The BSO performance on Saturday, March 2, After she became ill, the couple decided that is dedicated to the memory of Akiko Shiraki the Boston Symphony should benefit from Dynner, the late wife of BSO Overseer Alan her legacy. In her memory, Alan and Akiko Roy Dynner. Born and raised in Japan, Akiko made a generous gift to support the replace- came to the United States to attend UCLA ment of the stage floor at Symphony Hall and stayed to become a citizen. Moving to and established in perpetuity a Tanglewood Washington, D.C., she became a key execu- Music Center fellowship. tive at the National Gallery of Art, where she worked on bringing to the gallery a number Alan was elected to the BSO Board of Over- of blockbuster shows, especially those that seers in 2002 and is currently a member of highlighted Japanese art and culture. An the Principal and Leadership Gifts Commit- elegant and athletic woman, she and Alan tee. He previously served as chair of the BSO shared a love of tennis, art, skiing, scuba div- Business Partners and a member of the Cam- ing, traveling, and . When the paign Steering Committee, Development couple moved to Boston, where Alan served Committee, Overseers Executive Committee, as Vice-President and Chief Legal Officer of and Overseers Nominating Committee. He Eaton Vance Corp., they became active sup- has been a BSO subscriber for sixteen con- porters of and subscribers to Symphony. secutive years, beginning in 1997. Alan is a member of the Higginson Society at the Akiko adored the BSO, Symphony Hall, and Encore level, as well as the Koussevitzky Tanglewood. With Alan, she was deeply

week 18 bso news 9

Society. In addition to his support of the Sym- Arbella. Arbella Insurance Foundation is phony and Tanglewood Annual Funds, Alan proud to sponsor the Boston Pops, a New has supported Opening Night galas and Stage England institution that brings music, arts, One of the Beyond Measure Campaign. entertainment, and education to the commu- nity. For more information about becoming a BSO Business Partner, contact Rich Mahoney, BSO Business Partner of the Month Director of BSO Business Partners, at (617) Did you know that there are more than 400 638-9277 or at rmahoney@ bso.org. businesses and corporations that support the Boston Symphony Orchestra, Inc.? You can lend your support to the BSO by supporting The BSO on the Web the companies who support us. Each month, At BSO.org/MediaCenter, patrons can find we spotlight one of our corporate supporters a centralized location for access to all of the as the BSO Business Partner of the Month. Boston Symphony Orchestra’s media offer- This month’s partner is Arbella Insurance ings. The free and paid media options include Foundation. The Arbella Insurance Foundation radio broadcast concert streams, audio con- was established in 2004 by the Arbella In- cert previews, interviews with BSO musicians surance Group, a local, customer-focused and guest artists, excerpts from upcoming property and casualty insurance company, programs, and self-produced recordings by providing personal and business insurance in the BSO, Boston Pops, Boston Symphony Massachusetts and , and busi- Chamber Players, Tanglewood Festival Chorus, ness insurance in Rhode Island and New and Tanglewood Music Center Fellows. In Hampshire. The mission of Arbella’s Foun- addition, there are complete program notes dation is to support not-for-profit organiza- available for download, printing, or saving tions that have a significant positive impact to an e-reader. The BSO kids website offers on the people and communities served by educational games and resources designed

week 18 bso news 11 12 to be fun and help teach various aspects of triades and Julianne Lee, , Edward music theory and musical concepts. The Gazouleas, viola, and Thomas Martin, clarinet. BSO is also on Facebook (facebook.com/ Tickets are $27, with discounts for seniors bostonsymphony) and Twitter, and you can and students. Visit bostonartistsensemble.org watch video content at .com/boston or call (617) 964-6553 for more information. symphony. New this season is a BSO mobile Ronald Knudsen leads the New Philharmonia site, which allows patrons to access per- Orchestra in their second “Classics” concerts formance schedules; download program of the season on Saturday, March 16, at 8 p.m. notes; listen to concert previews, music and Sunday, March 17, at 3 p.m. at the First clips, and concert broadcast streams; and Baptist Church, 848 Beacon Street, Newton view video podcasts. Centre. The program, entitled “Memories of Italy,” is an all-Respighi program featuring The BSO Members in Concert Birds, Concerto Gregoriano with violinist James Buswell as soloist, and Pines of Rome. Tickets In residence at , the Muir are $10-45 (discounts for seniors, students, —BSO violinist Lucia Lin and and families). For more information, or to BSO principal violist Steven Ansell, violinist order tickets, call (617) 527-9717 or visit Peter Zazofsky, and cellist Michael Reynolds— newphil.org. performs Bartók’s Quartet No. 5 and Beetho- ven’s Quartet No. 13 in B-flat, Op. 130, on Tuesday, March 5, at 8 p.m. at BU’s Tsai Those Electronic Devices... Performance Center, 685 Commonwealth As the presence of smartphones, tablets, Avenue. Admission is free. and other electronic devices used for com- Collage New Music, founded by former BSO munication and note-taking has continued to percussionist Frank Epstein, and whose mem- increase, there has also been an increase in bers include former BSO cellist Joel Moerschel expressions of concern from concertgoers and current BSO violinist Catherine French, and musicians who find themselves distracted marks its 42nd season during 2012-13. On not only by the illuminated screens on these Sunday, March 10, at 8 p.m., at Edward devices, but also by the physical movements Pickman Hall at the Longy School of Music, that accompany their use. For these reasons, 27 Garden Street, Cambridge, the ensemble and as a courtesy to those on stage as well performs the Boston premiere of Morton as those around you, we respectfully request Feldman’s , Violin, Viola, Cello and three that all such electronic devices be turned off works by : Four Pieces for and kept from view while the BSO’s perform- Violin and Piano, Opus 7; Three Little Pieces ances are in progress. Thank you very much for Cello and Piano, Opus 11, and Variations for your cooperation. for Piano, Opus 27. A pre-concert talk begins at 7 p.m. General admission is $15 (free for students), either at the door or by calling Comings and Goings... (617) 901-1677. For more information, visit Please note that latecomers will be seated collagenewmusic.org. by the patron service staff during the first convenient pause in the program. In addition, Founded by BSO cellist Jonathan Miller, the please also note that patrons who leave the Boston Artists Ensemble performs Mendels- hall during the performance will not be sohn’s String Quartet No. 2 in A minor, Op. 13, allowed to reenter until the next convenient Brahms’s Clarinet in B minor, Op. 115, pause in the program, so as not to disturb the and a “mystery piece” on Friday, March 15, performers or other audience members while at 8 p.m. at the Peabody Essex Museum in the concert is in progress. We thank you for Salem, and on Sunday, March 17, at 2:30 p.m. your cooperation in this matter. at Trinity Church in Newton Centre. Joining Mr. Miller are BSO musicians Tatiana Dimi-

week 18 bso news 13 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and , as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary player , a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

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

week 18 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 18 boston symphony orchestra 17

Completing the Circle: Wagner’s Brave New World in the Concert Hall by Thomas May

On March 21, 22, 23, and 26, the Boston Symphony Orchestra marks the bicentennial of (born in May 1813) with an all-Wagner program under the direction of Daniele Gatti. The BSO marked the bicentennial of Giuseppe Verdi (born in October 1813) this past January, with performances of Verdi’s , also led by Maestro Gatti.

The shared bicentennial of the twin 19th-century titans Verdi and Wagner has inspired ambitious plans to mark the occasion—plans by no means limited to the house. In January, Daniele Gatti led the Boston Symphony Orchestra in Verdi’s Requiem, that paradoxical late-period testament in which the Italian master reinvented himself off the opera stage, in the context of the choral-symphonic tradition. In March, Maestro Gatti returns with an all-Wagner program offering a wide-spanning survey of the one-man revolution spearheaded by Wagner—from his early refashioning of Romantic grand opera (hybridized from French and German models) to his profoundly ambivalent swan song, Parsifal, which questions the composer’s entire life project of the music drama anew.

“Richard Wagner at his Home in Bayreuth,” an 1882 oil painting by W. Beckmann showing Cosima and Richard Wagner, Cosima’s father , and the German literary figure (and Wagner biographer) Hans von Wolzogen

week 18 wagner’s brave new world in the concert hall 19 Certainly Wagner’s ideas about opera and the fusion of the arts, and even his musical language, have left their mark far beyond the opera house. Even those who have never been to an opera will likely not have escaped the long cultural reach of “Wagnerism,” from novelists like Marcel Proust and , Symbolist painters, and philoso- phers to film composers and even heavy metal. All of this makes it difficult to recapture the sense of euphoric potential, of a brave new world of art being born, with which Wagner’s mature works intoxicated the first generation of his followers. The disappointed, erstwhile idolater Friedrich Nietzsche described the narcotic effect of this music with the sardonically cautionary attitude of an ex-junkie. One especially remarkable attempt to con- vey something of that initial, heady spell of discovery—without ignoring its pernicious, even toxic aspects—can be found in actor Stephen Fry’s recent film Wagner and Me.

Wagner and Verdi—who, like the Baroque “twins” Bach and Handel, never actually met in person—lived through a period of extraordinarily dramatic upheaval. Outside Wagner’s native Leipzig, in the months after little Richard’s birth, massive armies poised for some of the decisive battles of the Napoleonic era. Wagner would later become a fugitive from German lands. He narrowly escaped a possible death sentence for his role in the uprisings that spread across Europe in 1848-49 and was forced to live in exile during the height of his creative prime. Yet quite apart from the colorful external outlines of his life—his per- sonal tribulations left as deep an impact as the world historical forces surrounding him— an important spur to his innovative temperament was his bracing mixture of admiration for, and competition with, the artists who served as models.

Wagner discovered major catalysts for his aesthetic—and even components of his musi- cal processes—in his encounters above all with the works of Beethoven, but also with those of such pioneers as Hector Berlioz and his eventual father-in-law, Franz Liszt. In a sense, hearing Wagner in the concert hall completes a circle. His idiosyncratic interpre- tation of Beethoven’s Ninth as a “Columbus”-like voyage to the very limits of instrumental music establishes Wagnerian music drama as the natural evolution toward which the most “progressive” symphonic thought has been tending. Like a mighty river flowing inexorably into its delta, Beethoven’s “stream of inexhaustible ” at last combines the orchestra and the human voice. Wagner’s own orchestral language in turn became a notable strand in the musical fabric of symphonic scores by composers as diverse as César Franck, Mahler, Strauss, and early Schoenberg.

In his provocative biography, Wagner: The Last of the Titans, Joachim Köhler writes that from hearing a performance of Berlioz’s Roméo et Juliette during his early Parisian period, Wagner gleaned “a clear idea of the possibilities of modern tone-painting and the art of instrumentation” and then plunged into “a counterpart of his own” by attempting a Berlioz-inspired symphony based on Faust. This attempt, however, foundered—in the end Wagner completed only one movement, which he then retitled A Faust Overture. But according to Köhler, that failure prompted an epiphany: “Although Faust provided him with the best possible dramatic basis, he tried to portray this drama by using symphonic resources when he should have depicted the drama itself.” He points to the composer’s own statement that what followed was the urge to write The Flying Dutchman, “breaking

20 Watercolor of Wagner by Clementine Stockar-Escher, Zurich, 1853

free from the mists of instrumental music and finding a solution to the problem that con- fronted me in the specificity of the drama.” By general consensus this is the first opera in which the authentic Wagnerian voice emerges, both dramatically and musically.

Even so, Tannhäuser takes another significant leap forward, reminding us that even before he became caught up in the world of the Ring—and while still reworking vestiges of grand opera and working for the “establishment” in —Wagner was at the same time revolutionizing the idea itself of “descriptive” music. Laurence Dreyfus argues in his book Wagner and the Erotic Impulse that much of the intense polarization among the composer’s contemporaries resulted from the overwhelming effectiveness with which his music, through harmonic tensions, rhythmic suggestiveness, and colorful orchestration, could convey human desire and sensuality. Dreyfus calls Wagner “the first to develop a detailed musical language that succeeded in extended representations of erotic stimulation, pas- sionate ecstasy, and the torment of love”—and this begins to happen in the “Venus” music at the center of the original version of the Tannhäuser Overture. Later, in his revised ver- sion of the opera for the disastrous Paris production in 1861, Wagner would infuse the score with what he had learned in composing Tristan; but even in 1845 he was anticipating this music of unbridled desire.

Eager as Wagner was to subvert (or reinterpret) the past in pursuit of his goals, he remained intent on the need to communicate with contemporary audiences. One reason his music acquired a parallel life in the concert hall from the very start was as the result of his tireless efforts at self-promotion. Wagner’s ambitious innovations necessitated long delays before such projects as the Ring cycle could be realized onstage. So he opted for a practical compromise and returned to his earlier métier as conductor, using the forum of orchestral concerts to try to keep his latest music in circulation. It’s interesting

week 18 wagner’s brave new world in the concert hall 21 to note, as the expert Thomas Grey does, that Wagner’s urge to impart his ideas extended to the genre of program notes he pioneered not only for concert presentations of his own music, but for the emerging repertory of Beethoven. Without an actual staging of the music drama in question to orient his audience, writes Grey, “Wagner also sought to transmute [the relevant dramatic content] in ‘purely musical’ terms within the orchestral pieces” introducing such works as Tannhäuser, Lohengrin, , and Parsifal.

The dream of the “invisible orchestra” that Wagner made a reality in Bayreuth (a concept for which, incidentally, Verdi also expressed admiration) was at heart motivated by the desire to make its music all the more immediate. Wagner’s frustrations with staging the Ring even led him to joke about inventing the “invisible theater.” As it happens, it was via concert arrangements of excerpts that the composer gave the public its first taste of the cycle while it was still a work in progress. The same holds for the epoch-making Prelude to Tristan und Isolde. And Wagner composed and conducted the Prelude to Die Meistersinger even before he had completed that opera.

Otherwise, there was a considerable time lag before audiences actually had an opportu- nity to hear the controversial compositions over which much ink had already been spilled through the years. For example, not until 1871 did an opera by Wagner receive its first performance in Italy. This was Lohengrin, already almost a quarter-century old. It soon entered the repertory there, although none of his later received a staging south of the Alps until after the composer’s death. Following years of reading about his radical ideas on opera and the future of music, the Italian public must have been struck by the presence of so many traditional elements of Romantic opera in this score, mixed as they were with innovations. But the latter are certainly evident in the orchestral music of the Prelude to Act I. Its shimmering sheets of divided violins can even be heard as a potential ancestor of Ligeti’s hovering micropolyphonic fabrics.

Meanwhile, this music from Lohengrin anticipates the total-immersion effect of the Tristan Prelude (or of Das Rheingold, for that matter, with which the Ring cycle commences— where it conjures the natural and elemental, as opposed to the spiritual in Lohengrin). In Tristan, Wagner achieves this by couching his bold, profoundly unsettling harmonic lan- guage in darkly muted orchestral textures. The Tristan Prelude distills the essence of the entire opera by suggesting the restless tug of desire. But more significant than its emo- tionally haunting character is the primacy that music has taken on, by this point in Wagner’s thinking, as the real locus of the drama. Much as in the final minutes of the Ring itself, it is left to the orchestra to resolve everything that has been experienced in the course of Tristan and Isolde’s passion story. Isolde’s final “transfiguration” (Wagner’s term for her farewell vision) builds to an oceanic climax that at last comes to rest on what Richard Strauss described as “the most beautifully orchestrated B major chord in the whole history of music.”

In the Ring itself, Wagner’s continually evolving leitmotif system guaranteed a central role for the orchestra as a lead character in its own right. Verbal utterances by the char- acters onstage are often merely tips of the iceberg. The orchestra resembles a primal

22 Wagner , as drawn by Gustav Gaul at a February 1875 concert rehearsal in Vienna

unconscious, unveiling what is latent beneath. With his manipulations and recombinations of motifs, expressed through an increasingly nuanced range of timbres, Wagner even creates the illusion that the music is “thinking.” In the instrumental interludes Daniele Gatti has chosen from Götterdämmerung, the orchestra also strengthens the principle of epic narrative by wordlessly recalling past events from a long-range perspective.

That sense of recapitulation of what has been explored long ago permeates Parsifal. Like Verdi’s Requiem, Parsifal is both a summa of its composer’s art and a creation that is sui generis. At times Wagner recalls the dark timbres and tonal restlessness of Tristan, but with even more harrowing intensity. The music of Kundry—arguably the most fascinating in his entire gallery of characters—doesn’t so much convey the power of unappeasable desire as make vivid the suffering which is its consequence, and which, Wagner wants us to see, underlies existence itself. Love in the sense of sexual desire—the sense that, for the composer, was always an integral part of a loving relationship—is not the key to redemption but its obstacle, a distraction from the path of compassion. By the end of the opera—and of his career—Wagner cries out for “redemption to the redeemer,” still long- ing for the answers that his art has not succeeded in yielding. thomas may writes about the arts for the Boston Symphony Orchestra program book and other publications. He is the author of “Decoding Wagner: An Invitation to his World of Music Drama” and the editor of “The John Adams Reader: Essential Writings of an American Composer.”

week 18 wagner’s brave new world in the concert hall 23 The Henry Lee Higginson Memorial Concert Thursday, February 28, 2013

By action of the BSO’s Board of Trustees, one subscription concert each sea- son is designated “The Henry Lee Higginson Memorial Concert” in honor of the orchestra’s founder and sustainer. Businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson founded the Boston Sym- phony Orchestra in 1881, thus fulfilling a goal he had formulated prior to the Civil War. Under the direction of Georg Henschel, its first conductor—whom Major Higginson asked to lead the BSO after hearing him conduct at a Har- vard Musical Association concert in March 1881—the BSO gave its inaugural concert on October 22, 1881, in the old Boston Music Hall. From that time until the creation of a Board of Trustees in 1918, Major Higginson sustained the orchestra’s activities virtually single-handedly. In an address to his “noble orchestra” on April 27, 1914, he described his role: “to run the risk of each year’s contracts, and to meet the deficit, which never will fall below $20,000 yearly, and is often more,” in support of the “excellent work by high-grade artists and as good a conductor as exists.” Among his closing comments was the observation that the Boston Symphony Orchestra “gives joy and comfort to many people.” Thanks to Major Higginson’s pioneering vision, and to all who have helped further that vision, it continues to do so today.

24 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, February 28, 8pm | the henry lee higginson memorial concert Friday, March 1, 8pm Saturday, March 2, 8pm | the akiko shiraki dynner memorial concert rafael frühbeck de burgos conducting hindemith “konzertmusik” for strings and brass, opus 50 Mässig schnell, mit Kraft—Sehr breit, aber stets fliessend [Moderately fast, with energy—Very broad, but flowing] Lebhaft—langsam—lebhaft [Lively – slow – lively] rachmaninoff no. 2 in c minor, opus 18 Moderato Adagio sostenuto Allegro scherzando lang lang

{intermission} bartók Andante non troppo—Allegro vivace “Giuoco delle coppie”: Allegretto scherzando “Elegia”: Andante, non troppo “Intermezzo interrotto”: Allegretto Finale: Presto

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

These concerts will end about 10:10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons , selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and 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 texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 18 program 25 The Program in Brief...

This program begins and ends with two works given their world premieres by the Boston Symphony Orchestra: German composer Paul Hindemith’s Konzertmusik for Strings and Brass, a BSO 50th-anniversary commission premiered under Serge Koussevitzky in April 1931, and Hungarian composer Béla Bartók’s Concerto for Orchestra, personally com- missioned by Koussevitzky and premiered in December 1944. In between comes Rach- maninoff’s ever-popular Piano Concerto No. 2, a work that restored the relatively young Rachmaninoff’s confidence as a composer following a particularly trying period.

In 1900, Rachmaninoff was already attaining international success as composer, pianist, and conductor. But the recent terrible failure of his Symphony No. 1 was still weighing heavily upon the composer, who finally overcame depression and feelings of inadequacy through several months of hypnosis therapy that, as he later acknowledged, not only “really helped,” but paved the way for one of his most immediately and consistently popular works, his Piano Concerto No. 2, premiered with the composer as soloist in late 1901. Rachmaninoff’s sweeping romanticism, characteristically sinuous , and lush orchestral sonorities are evident throughout the work.

Hindemith and Bartók were both acknowledged as leading composers in the period between World Wars I and II, even as their music was considered difficult and “modern.” Both were important teachers and performers, as well as composers; both produced extensive catalogues of works in multiple genres; and both found it necessary to leave their native countries once the Nazis came to power. Hindemith ultimately returned to Germany after many years abroad, a period that included teaching at Tanglewood in 1940 and at from 1940 to 1953. Bartók did not fare as well, however; felled ultimately by leukemia, he died underappreciated, and in difficult circumstances, in in 1945.

In 1927, in one of his own concerts in Paris, Koussevitzky led Hindemith’s No. 5—a —with Hindemith himself as soloist. Not long afterwards, Kousse- vitzky included Hindemith among the composers commissioned to write pieces for the BSO’s 50th season, 1930-31. The result was the masterfully conceived Konzertmusik for Strings and Brass, a two-movement work built on materials designed to showcase those sections of the orchestra both separately and together.

Bartók’s Concerto for Orchestra is imbued with the melodic contours, harmonies, and rhythms of his country’s indigenous music, which he studied intensively throughout his career. The program note he provided for the premiere explains the work’s general mood as “a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last”; and that the title reflects his intention “to treat the single instruments or instrumental groups in a concertant or solois- tic manner.” It marked his first real success with a broad audience and is now a staple of the orchestral repertoire.

Marc Mandel

26 Paul Hindemith “Konzertmusik” for Strings and Brass, Opus 50

PAUL HINDEMITH was born in Hanau, near , Germany, on November 16, 1895, and died in Frankfurt on December 28, 1963. He composed “Konzertmusik” (“Concert Music”) for String and Brass in 1930 in , on a commission for the fiftieth anniversary of the Boston Symphony Orchestra. Serge Koussevitzky led the Boston Symphony in the first performances on April 3 and 4, 1931, also programming it in four subsequent BSO seasons (see below).

THE SCORE calls for a quartet of horns; a quartet of trumpets; three trombones and tuba (i.e., making a third brass quartet); and strings, the latter being listed by Hindemith as an orchestral “Streichquartett” (a “string quartet” of violins, violas, cellos, and double basses) because the violins are treated as a single unit, rather than being divided into firsts and seconds.

This Konzertmusik for brass and strings is one of the most thrilling orchestral works of the twentieth century, yet it is too little played today, as indeed his admirers would say of all of Hindemith’s music. Regarded by many in the period between the two world wars, along with Stravinsky and Bartók, as a leader in European music, Hindemith was equally berated by critics who were uncomfortable with the complexities of “modern” music and dis- turbed by the enfant terrible direction of his earliest pieces. But surely no one will question the authoritative mastery of a work like the Konzertmusik, which was written for a virtuoso orchestra and is poles away from the playable, approachable music for amateurs that came to be the hallmark of his later production.

In the early 1920s Hindemith relied on outrage and iconoclasm to make his mark, toying with jazz, dissonance, and anything that seemed to overturn the luxuriant inheritance from the pre-war generation. His stage works were scandalous in various ways, and in a series of pieces titled Kammermusik he presented unconventional music for unconventional groups of instruments. “Chamber Music” was a supremely abstract label for music that denied poetic or literary content and wished to present the art of music as free of any rationale other than itself. A mature style formed itself, and by 1927, when Hindemith

week 18 program notes 27 Program page from the first Boston Symphony performances—the world premiere performances— of Hindemith’s “Konzertmusik” for Strings and Brass on April 3 and 4, 1931, with Serge Koussevitzky conducting (BSO Archives)

28 Hindemith’s inscription in the score, in German, following a 1938 BSO performance of his “Konzertmusik” for Strings and Brass: “Today, on 26 February 1938, I have heard the ideal performance of this piece. With best thanks, Paul Hindemith, Boston” (BSO Archives)

took a teaching position at the Berlin Staatliche Hochschule für Musik, he had found a distinctive voice that was no longer anxious to shock, but designed rather to formulate a language that could be assimilated readily by both audiences and younger composers. It was the basis of a long and distinguished career as a teacher (especially during the years 1940-1953 at Yale) and of his various books outlining his craft.

In addition to his work as composer and teacher, Hindemith also had a demanding sched- ule as the violist in the Amar String Quartet and was widely known as a virtuoso on his instrument. His own contribution to the viola repertoire greatly enriched that meager stock.

In a concert in Paris in May 1927, Hindemith played his viola concerto (Kammermusik No. 5) under Serge Koussevitzky, whose annual Paris concerts were always a sensation. Koussevitzky had already been heading the Boston Symphony Orchestra for three years, so when he sent out the many invitations offering commissions to mark the orchestra’s fiftieth anniversary, Hindemith was on his list. The Konzertmusik for Strings and Brass thus joined Stravinsky’s , Roussel’s Third Symphony, Prokofiev’s Fourth Symphony, and works by Respighi, Honegger, Copland, Howard Hanson, Edward Burlingame Hill, and Koussevitzky himself (an “anonymously” composed overture), a famous series of celebratory works heard for the first time in Symphony Hall in 1930- 1931 (except for Copland’s Symphonic Ode, which came the following season).

Like the Kammermusik series, there was a group of works titled Konzertmusik, this time three in number and all composed in 1930. The first was a for viola and orchestra. The second was a response to another American commission, this time from the great patroness of the arts, Elizabeth Sprague Coolidge; this was scored, very unusu- ally, for piano, two harps, and brass, and was first performed in Chicago in October 1930. For the Boston commission Hindemith wrote for an orchestra that lacks woodwinds and percussion and sets the two families of brass and strings in amicable opposition with brilliant effect. Hindemith did not travel to the United States for either premiere; in fact he did not cross the Atlantic until 1937, and then for a second visit in 1940 when Koussevit-

week 18 program notes 29

A page from the manuscript score of Hindemith’s “Konzertmusik” for Strings and Brass (BSO Archives)

zky’s invitation to teach a composition class at Tanglewood allowed him to escape from wartime Europe.

The vitality of this Konzertmusik lies in its brilliant scoring and inventive use of rhythm and . The brass section is the normal orchestral complement, while the strings are laid out in four sections rather than the usual five, with all the violins grouped together, not divided into firsts and seconds. This happens to give prominence to Hinde- mith’s beloved violas, but it also concentrates the weight of the string body (which he asks to be as large as possible) in balance with the brass. The brass cannot attempt the delicate filigree or the cascading scales that are second nature for strings; the strings lack the formidable bite and weight of the brass. Hindemith has an uncanny feeling for both groups and writes for them with a sure hand, finding ways to place them sometimes in opposition, sometimes in harmonious blend.

The opening movement, which is divided into two sections, starts by emphasizing the contrast between the brass’s solid melodic statement and the strings’ busy, jumping phrases, like mighty insects on a lion’s back. The brass then take over the jumpy music

week 18 program notes 31 32 on their own. The strings have their turn, showing off scales and spiky phrases, and then both groups come together with exuberant energy. When the strings pursue their previous arguments, they are repeatedly interrupted by heavy brass chords. These lead to a broad descending phrase that heralds the start of the second part of the movement, much broader in character. Here the whole string body except the double basses intones a strong melody in unison, punctuated by irregular brass chords. As the tune repeats, the four horns take sides with the strings and draw the movement to a strong close in C-sharp major.

The second movement opens arrestingly with three crisp chords, which launch a busy fugue. The strings do all the rushing about while the brass never miss an opportunity to stamp out the three chords to mark the entry of a new voice. When the fugue fades, leaving the violas briefly all alone, the violins launch a new and very catchy tune. The middle section of the movement is slow: against the background of a brief rhythmic fig- ure in the four horns the violas carve out an expressive chromatic melody. A trombone then plays it while the strings support, and finally the upper strings restate it while the full brass play the rhythmic accompaniment.

The quick music soon returns, with the fugue more brilliant than ever and the three crisp chords driving the music forward. The catchy tune is heard on the trombone, then the violas, slowing the music down almost to a halt before a tumultuous hurrah from the full ensemble brings this exhilarating work to a close.

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shosta- kovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Biography of a Year” (Boydell Press), was published last spring.

THEFIRSTBOSTONSYMPHONYPERFORMANCES—ALSOTHEWORLDPREMIEREPER- FORMANCES—of Hindemith’s “Konzertmusik” for Strings and Brass were given on April 3 and 4, 1931, with Serge Koussevitzky conducting. Koussevitzky programmed the work again in February 1932 (followed that March by performances in New Haven and New York), April 1934 (only in New York), February 1938 (followed that March by performances in Northampton and New York), and April 1940. Subsequent BSO performances were given by , Richard Burgin, Seiji Ozawa (July 1965, the BSO’s only Tanglewood performance of the piece), Jean Martinon, (March/April 1971, in Boston, Stuttgart, Berlin, , and Barcelona; recording for followed in October 1971), Kurt Masur (February 1980), and Hans Graf (January 2005, the most recent BSO performances).

week 18 program notes 33

Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Opus 18

SERGEI VASILLIEVICH RACHMANINOFF was born at Semyonovo, District of Starorusky, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his piano concerto No. 2 in 1900-01, writing the second and third movements in the summer of 1900 (apparently using some materials dating back to the early 1890s) and completing the first movement on May 4, 1901. With the composer as soloist, Rachmaninoff’s teacher and cousin Alexander Siloti led a performance in Moscow of the second and third movements on December 15, 1900. Siloti also led the first complete performance, also in Moscow and again with the composer as soloist, on November 9, 1901. The score is dedicated to Mr. Nikolai Dahl, of whom more below. IN ADDITION TO THE SOLO PIANO, the score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, and strings.

By January of 1900, the twenty-six-year-old Rachmaninoff had already acquired some- thing of an international reputation as a composer. Alexander Siloti, his first cousin and also one of his piano teachers at the Moscow Conservatory, had in the autumn of 1898 toured Europe, England, and America. Of the music that Siloti programmed, it was Rachmaninoff’s C-sharp minor Prelude for piano—which, frustrated by the piece’s popu- larity, the composer came simply to call “It”—that outdistanced all else in popularity, particularly in America and England, and Siloti arranged for Rachmaninoff to appear with the London Philharmonic Society as conductor and pianist in the spring of 1899.

For that occasion Rachmaninoff promised the Londoners a new concerto, one he hoped would be better than his First in F-sharp minor, which he had completed in July 1891 while still a student and would ultimately revise in the fall of 1917. But the hope for a new concerto was not realized. As late as July 1899, Rachmaninoff complained that “My musical matters go very badly.” Both that summer and the following autumn were unpro- ductive. His depression and feelings of inadequacy as a composer—feelings dating back to the dreadful failure of his First Symphony at its premiere in 1897, on which occasion

week 18 program notes 35 Program page from the first Boston Symphony performance of Rachmaninoff’s Piano Concerto No. 2 on December 3, 1908, in New York with soloist Ossip Gabrilowitsch and Max Fiedler conducting (BSO Archives)

36 César Cui famously wrote that “If there were a conservatory in Hell, if one of its gifted students were given the assignment of writing a program symphony on the Seven Plagues of Egypt, if he were to write a symphony just like Mr. Rachmaninoff’s, he would have carried out his task brilliantly and given acute delight to the inhabitants of Hell”— worsened steadily. Then, a concerned party arranged for him to meet novelist Leo Tolstoy, whom the young composer idolized. It was hoped that Rachmaninoff’s “god” would offer him enough encouragement to restore his self-confidence, but the two meet- ings early in 1900—one of them in the company of the great Russian bass Fyodor Chaliapin—only revealed Tolstoy to Rachmaninoff as “a very disagreeable man” (the composer’s words) and made matters worse. Certainly Tolstoy’s response to hearing Rachmaninoff and Chaliapin perform one of Rachmaninoff’s songs—“Tell me, do you really think anybody needs music like that?”—would not have helped.

Meanwhile, Siloti had agreed to support Rachmaninoff for two years so that his cousin could devote himself entirely to composing. Around this same time, though, and more important, Rachmaninoff was persuaded to seek outside help in the person of one Niko- lai Dahl, a psychiatrist who for some years had been specializing in treatment by hypno- sis. From January to April of 1900 the composer saw Dahl daily, the purpose of these meetings being to help Rachmaninoff sleep soundly, brighten his daytime mood, improve his appetite, and reawaken his desire to compose. More specifically, the sessions focused on the long-overdue concerto: “You will begin to write your concerto....You will work with great facility....The concerto will be of excellent quality....” were phrases that Rachmaninoff heard repeatedly.

“Although it may sound incredible,” Rachmaninoff recalled later, “this cure really helped me. By the beginning of the summer I again began to compose. The material grew in bulk, and new musical ideas began to stir within me—more than enough for my concer- to.” The precise components of the “cure” are shrouded in mystery, but we do know that Dahl was an accomplished amateur musician, music lover, and organizer of chamber music evenings as well as a psychiatrist and hypnotist, and it would seem that the con-

week 18 program notes 37

Rachmaninoff’s hands

versations on musical topics between doctor and patient probably played as important a part as the rest.

In any event, Rachmaninoff completed the second and third movements that summer. These were played for the first time on December 15, 1900, at a benefit concert in Moscow for the Ladies’ Charity Prison Committee (aimed at alleviating the suffering of prisoners) with Rachmaninoff at the keyboard and Siloti conducting. The music scored a huge triumph with the audience. The reviewer for the Russian Musical Gazette comment- ed on the work’s “poetry, beauty, warmth, rich orchestration, healthy and buoyant cre- ative power,” noting also that “Rachmaninoff’s talent is evident throughout.” The com- poser went on to finish the first movement, and the completed work, dedicated “to Mr. N. Dahl,” was premiered by the Moscow Philharmonic on November 9, 1901, with the same combination of soloist and conductor. The concerto’s success was complete—it went on to become one of Rachmaninoff’s most popular works, along with the piano prelude already mentioned—and Rachmaninoff’s confidence in his abilities as a composer was restored.

By midway through the twentieth century, and likely in response to the too frequent per- formance of certain works, Rachmaninoff’s particular brand of romanticism was falling from favor, and his reputation as a composer suffered correspondingly. Nor did the popu- larization of his music through such songs as “Full Moon and Empty Arms” (on a tune from the finale of the Second Concerto) help to strengthen his place in the minds of so- called “serious” musicians or critics. But fortunately the tide turned again, and today no one fails to recognize what makes the composer’s musical voice so appealingly distinc- tive. As the important Tchaikovsky biographer David Brown has observed, “Rachmaninoff was a true creative individual, if not a great one.” Of the Second Concerto, Brown notes that “in no other work did Rachmaninoff exploit more vigorously his purely melodic gifts, nor ever create a piece more coherent, either expressively or thematically.” Those lush, sinuous melodies; the composer’s concentration on rich string sonorities and dark orches- tral colors; his crafty intermingling of piano and orchestra, and, as Michael Steinberg

week 18 program notes 39 40 puts it, “a sense of effortlessness in its unfolding, which is surely related to the confi- dence he had gained in Dr. Dahl’s deep leather armchair and, more broadly, from the growing feeling that he was after all built to survive”—all are readily apparent in the C minor piano concerto. The final cadence is one not just of assertion, but of triumph.

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

THEFIRSTUNITEDSTATESPERFORMANCE of Rachmaninoff’s Piano Concerto No. 2 took place on November 18, 1905, in New York, with pianist Raoul Pugno and the orchestra of the Russian Symphony Society under the direction of Modest Altschuler.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Rachmaninoff’s Piano Concerto No. 2 featured Ossip Gabrilowitsch as soloist, with Max Fiedler conducting, on December 3 and 4, 1908, in and Brooklyn. With Fiedler again conducting, Rachmaninoff himself was soloist for the BSO’s next series of performances, in , Baltimore, New York, and Hartford in November 1909, followed by subscription performances in Boston on December 17 and 18 that year, and then a Buffalo performance in January 1910. Later BSO performances featured Gabrilowitsch again (with Karl Muck conducting), Rachmaninoff again (with Henri Rabaud and Serge Koussevitzky), Wilhelm Backhaus (), Jesús María Sanromá (Koussevitzky), (Richard Burgin); Simon Barer, Alexander Brailowsky, and Eugene List (all with Koussevitzky); Byron Janis and Zadel Skolovsky (Charles Munch), (Monteux and Burgin), Gina Bachauer (Erich Leinsdorf and Burgin), (), (), Cecile Licad (Seiji Ozawa), André Watts (Edo de Waart and Robert Spano), Garrick Ohlsson (Neeme Järvi), Lorin Hollander and Benjamin Pasternack (Thomas Daus- gaard), Árcadi Volodos (Ozawa), Van Cliburn (the most recent Tanglewood performance, on August 22, 1997, with James Conlon conducting); Nelson Freire and Krystian Zimerman (Ozawa); and (the most recent subscription performances, in January 2008 with Rafael Frühbeck de Burgos conducing).

week 18 program notes 41

Béla Bartók Concerto for Orchestra

BÉLA BARTÓK was born in Nagyszentmiklós, Transylvania (then part of Hungary but now absorbed into Romania), on March 25, 1881, and died in New York on September 26, 1945. The Concerto for Orchestra was commissioned in the spring of 1943 by Serge Koussevitzky through the Koussevitzky Music Foundation in memory of his wife Natalie Koussevitzky, who had died in 1942. Bartók composed the work between August 15 and October 8, 1943. Koussevitzky led the Boston Symphony Orchestra in the first performances on December 1 and 2, 1944, repeating the work in Boston on the 29th and 30th and then giving the first New York performances on January 10 and 13, 1945, at . At some point Bartók revised the ending, extending the original by some fifteen measures to create the version that is typically heard today.

THE SCORE OF THE CONCERTO FOR ORCHESTRA calls for three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets (a fourth trumpet line is marked ad lib.), three trombones, tuba, timpani, side drum, bass drum, tam-tam, cymbals, triangle, two harps, and strings.

So well loved is Bartók’s Concerto for Orchestra in all parts of the world that it is hard now to imagine the hostility that greeted his music in the period between the wars, and the horror his music inspired both in concert audiences and in critics who should have known better. Many of his works are severely uncompromising, it is true, and the staying power of had not yet been accepted. But the flow of time that slowly conditioned audiences (even critics) to Bartók’s supposed “difficulty” had a simultaneous effect on Bartók himself. In his last works he had mellowed to an extraordinary degree, with the result that the Concerto for Orchestra, one of the last pieces he completed, is now a sta- ple part of concert programs, beloved by audiences and virtuoso alike.

Bartók found the process of compromise exceedingly difficult to come to terms with. The story of his exile in America during the war and his death in poverty and distress in a New York hospital in 1945 is one of the saddest chronicles in music. He was so sen-

week 18 program notes 43 Program page from the first Boston Symphony performances—the world premiere performances— of Bartók’s Concerto for Orchestra on December 1 and 2, 1944, with Serge Koussevitzky conducting (BSO Archives)

44 sitive and so deeply attached to his native Hungary that to be uprooted from home, and for such gruesome reasons, had a catastrophic effect on his spirit. It is a miracle that he wrote anything at all in those years, let alone works as profoundly appealing as the Sixth Quartet and the Piano Concerto No. 3. He wrote, of course, in response to commissions, and desperately needed the money they offered. Without Serge Koussevitzky, long-term music director of the Boston Symphony and a champion of new music of every kind, and without his Hungarian friend, the violinist Joseph Szigeti, to spur him on, Bartók might never have undertaken so large a work as the Concerto for Orchestra. What is certain is that once committed to it, and despite every discouragement, Bartók put everything he had into the piece, applying that meticulously critical ear and the exalted craft of a very experienced composer.

Koussevitzky and the Boston Symphony Orchestra gave the first performances of this great 20th-century masterpiece in Symphony Hall on December 1 and 2, 1944, repeating it in Boston on December 29 and 30 (the performance on the 30th was broadcast) and following that with the New York premiere in January 1945. The work was slightly revised by Bartók before publication; two alternative endings appear in the published score. The work was designed for a large virtuoso orchestra of the highest class, hence its title, and the instruments are often mercilessly exposed. It also requires ensemble playing of great precision and a sense of color and vitality of which Bartók was a master.

The first movement is conventional (like a Beethoven symphony) in offering a slow intro- duction leading into a vigorous Allegro. The bare fourths that make up most of the melodic intervals at the start retain their importance throughout the work. The Allegro, reached by an exhilarating acceleration, is very compact, with contrast from a gentler theme circling on two adjacent notes and an explosive fugato for the brass in the middle, the subject of which prominently features the interval of a fourth, like an awk- wardly stretched stride.

The second movement, “Game of Pairs,” isolates wind pairs in turn, each with its own

week 18 program notes 45 46 Serge Koussevitzky's letter to Béla Bartók of May 4, 1943, commissioning a new work for orchestra from the composer

interval. The two bassoons are in sixths, the two oboes in thirds, the two clarinets in sev- enths, the two flutes in fifths, and the two trumpets, muted, in seconds. A brass chorale intervenes, while the side drum maintains the old rhythm, and the pairs return, each now supported and decorated by extra help. There are now three bassoons, for example, not two; two clarinets assist the two oboes, two flutes assist the two clarinets. The pattern is simple but very affecting, and at the end a serene dominant seventh permits each pair to come to rest on its “own” interval.

The Elegia takes us into Bartók’s private world, with memories of his favorite “night music.” Shimmers from the harp, flutters from the flute and clarinet, a background of softly rolling timpani—these create an atmosphere of mystery and expectation. Even so, the entry of the full orchestra in the central section is brutal and all too earthbound, recalling a theme heard in the first movement’s introduction. It takes a long time to restore the magical

week 18 program notes 47 atmosphere with which the Elegia began, but serenity eventually returns, fading into the night with some soft piping from the piccolo and a few discreet notes from the timpani.

The “Interrupted Intermezzo” starts with a wistful folk-like melody on the oboe, and then offers a broader, haunting theme, first on the violas, richly supported by the harps, and the folksy tune returns. The interruption is an appalling piece of grotesquerie, with a quo- tation from Shostakovich’s Seventh Symphony served up in cap and bells. Laughter and mockery are plain to all, and the return to Bartók’s noble theme carries something of the painful nostalgia with which he longed for his distant roots.

The finale is a spontaneous burst of energy, presented with all the blatant extroversion conveyed by the horns’ opening call. The first break in the scampering texture delivers up a little fugue on the horn-call theme, started by the second , and rapidly inverted. A folk tune breaks in on the oboe and the scampering resumes. The real fugue fills a complex stretch of the movement, equivalent perhaps to a development, and its subject returns as a resplendent brass statement at the end, while wind and strings rush from end to end of their range in a stampede of breathless brilliance.

Like Shostakovich, Bartók was an artist for whom suffering became a permanent feature of reality. Both composers had to find ways to escape—or at least to seem to escape— from the oppression of misfortune and pain. Both wrote music of noisy high spirits, and in each case we have to read the irony in the music even while we catch the infectious vitality of that brilliant orchestral display. Bartók may have lampooned Shostakovich in his fourth movement, but he probably never understood the complex disguises that Shostakovich had to assume in order to survive under a regime that was as intolerant of high artistry as the Hungary from which Bartók was himself forced to flee. No music has so many layers of meaning as this, which is why we can return to it again and again with pleasure and satisfaction.

Hugh Macdonald

SINCETHEBSO’SAMERICANPREMIEREPERFORMANCES with Serge Koussevitzky conducting in December 1944 (see the start of this program note), the Boston Symphony Orchestra has also played the Concerto for Orchestra under the direction of Richard Burgin, , Pierre Monteux, Antál Dorati, Thomas Schippers, , Erich Leinsdorf (who recorded it with the BSO for RCA in 1962), Seiji Ozawa (many times between 1972 and 2001, in Boston, at Tangle- wood, and on tour throughout the United States and Europe, a live recording for Philips being taken from performances of February 1994), Rafael Kubelik (who recorded it with the BSO for Deutsche Grammophon in 1973), Jorge Mester, , Joseph Silverstein, Michael Tilson Thomas, Charles Dutoit, Hans Graf, (including the most recent Tanglewood performance, on August 10, 2007, followed by tour performances that August and September in Lucerne, Düsseldorf, Berlin, and London), and Bernard Haitink (the most recent subscription performances, in April 2010).

week 18 program notes 49

To Read and Hear More...

Ian Kemp’s article on Hindemith in The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Modern Masters: Bartók, Stravinsky, Hindemith (Norton paperback). The Hindemith article in the 2001 edition of Grove is by Giselher Schubert. Useful English-language books on the composer include Ian Kemp’s Hindemith in the series “Oxford Studies of Composers” (Oxford paperback), David Neumeyer’s The Music of Paul Hindemith (Yale University), Geoffrey Skelton’s Paul Hindemith: The Man Behind the Music (Crescendo), Selected Letters of Paul Hindemith as translated and edited by Skelton (Yale University), Guy Rickards’s Hindemith, Hartmann and Henze in the series “20th-Century Composers” (Phaidon paperback), and Luther Noss’s Paul Hindemith in the United States (University of Illinois).

The three-disc set “Hindemith Conducts Hindemith” includes, among other things, the composer’s recordings from the 1950s with the of his BSO-commis- sioned Konzertmusik for Strings and Brass as well as the Symphony, and Symphonic Metamorphosis on Themes of Weber (Deutsche Grammophon). Hindemith recorded the Konzertmusik again in 1956 with the (EMI). William Steinberg and the Boston Symphony Orchestra recorded Hindemith’s Konzertmusik and Symphony, Mathis der Mahler in October 1971 (also Deutsche Grammophon). Other recordings of the Konzertmusik for Strings and Brass include Leonard Bernstein’s with the () and Israel Philharmonic (Deutsche Grammophon), a concert performance with the New Philharmonia Orchestra from the 1967 Edinburgh Festival (BBC Legends), and Yan Pascal Tortelier’s recording with the BBC Philharmonic (Chandos).

Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the Master Musicians series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer, Pianist, Conductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music,

week 18 read and hear more 51 compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rach- maninoff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press). Michael Steinberg’s notes on Rachmaninoff’s Second and Third piano , and Rachmaninoff’s Rhapsody on a Theme of Paganini, are included in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

The Boston Symphony Orchestra recorded the Piano Concerto No. 2 live with Krystian Zimerman and conductor Seiji Ozawa in 2000 (Deutsche Grammophon). Rachmaninoff’s own recordings of his piano concertos with the under (No. 2 and the Rhapsody on a Theme of Paganini) and Eugene Ormandy (Nos. 1, 3, and 4) were made originally for RCA Victor (various CD transfers). Other choices for the Piano Concerto No. 2 on CD include—among many others, and listed alphabetically

52 by soloist—Leif Ove Andsnes’s with and the Berlin Philharmonic (EMI), Yefim Bronfman’s with Esa-Pekka Salonen and the Philharmonia Orchestra (Sony Classical), Van Cliburn’s with and the Chicago Symphony Orchestra (RCA “Living Stereo”), ’s with and the London Symphony Orches- tra (RCA), Nikolai Lugansky’s with Sakari Oramo and the City of Birmingham Symphony Orchestra (Warner Classics), and Arthur Rubinstein’s with Fritz Reiner and the Chicago Symphony Orchestra (RCA).

Paul Griffiths’s Bartók in the Master Musicians series (Dent paperback) is a useful sup- plement to Halsey Stevens’s The Life and Music of Béla Bartók, which has long been the standard biography of the composer (Oxford paperback). The Bartók article by Vera Lampert and László Somfai from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Modern Masters: Bartók, Stravinsky, Hindemith (Norton paperback). The article in the revised Grove (2001) is by Malcolm Gillies. Béla Bartók by Kenneth Chalmers is a volume in the copiously illustrated series “20th-Century Composers” (Phaidon paperback). Also useful is John McCabe’s Bartók Orchestral Music in the series of BBC Music Guides (University of Washington paperback). Two relatively recent books offer wide-ranging consideration of Bartók’s life, music, critical reception, and milieu: Bartók and his World, edited by Peter Laki (Princeton University Press), and The Bartók Companion, edited by Malcolm Gillies (Amadeus paperback). Agatha Fassett’s personal account of the composer’s last years has been reprinted as The Naked Face of Genius: Béla Bartók’s American Years (Dover paperback). Béla Bartók: His Life in Pictures and Documents by Ferenc Bónis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

The Boston Symphony Orchestra recorded the Concerto for Orchestra with Erich Leinsdorf in 1962 (RCA), with Rafael Kubelik in 1973 (Deutsche Grammophon), and live with Seiji Ozawa in 1994 (Philips, with Bartók’s original ending). In addition, the premiere broadcast of December 30, 1944, with Serge Koussevitzky and the BSO (also with the original ending) was included in the BSO’s twelve-disc box set “Symphony Hall Centen- nial Celebration: From the Broadcast Archives, 1943-2000” (available in the Symphony Shop). Rafael Frühbeck de Burgos recorded the Concerto for Orchestra with the London Symphony Orchestra (Collins Classics). Other recordings include Marin Alsop’s with the Baltimore Symphony Orchestra (Naxos), ’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Adám Fischer’s with the Hungarian State Symphony Orchestra (Nimbus), Iván Fischer’s with the Budapest Festival Orchestra (Hungaroton), Daniele Gatti’s with the Royal Philharmonic Orchestra (Conifer), James Levine’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Fritz Reiner’s also with the Chicago Symphony Orchestra (RCA), and Sir Georg Solti’s likewise with the Chicago Symphony (Decca).

Marc Mandel

week 18 read and hear more 53

Guest Artists

Rafael Frühbeck de Burgos

A regular guest with North America’s notable orchestras, Rafael Frühbeck de Burgos conducts the major ensembles of Boston, Cincinnati, Detroit, Los Angeles, New York, Pittsburgh, and Toronto in the 2012-13 season. He appears annually at Tanglewood, where he conducts both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and regularly with the Chicago Symphony, National Symphony, and Philadelphia Orchestra. Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the cur- rent season he assumes his post as chief conductor of the Danish National Orchestra. He has made extensive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra, and has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Frühbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. Rafael Frühbeck de Burgos

week 18 guest artists 55 has recorded extensively for EMI, Decca, Deutsche Gramophone, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of . Rafael Frühbeck de Burgos made his Boston Symphony Orchestra debut in January 1971. Since an August 2000 appearance at Tanglewood, he has been a frequent guest leading the BSO in a wide range of repertoire both at Symphony Hall and at Tanglewood, most recently for two subscription weekends in October and November 2011, leading music of Schumann, Strauss, Haydn, and Wagner; and at Tanglewood in August 2012, leading music of Albéniz, Falla, Harbison, and the BSO’s season-ending performance of Beethoven’s Ninth Symphony. Also last summer at Tanglewood he led the Tanglewood Music Center Orchestra in music of Beethoven and Bartók for the annual Leonard Bernstein Memorial Concert.

Lang Lang

Lang Lang has played sold-out concerts in every major city in the world, achieving success that has catapulted him into the world spotlight. In 2008 he was featured with jazz pianist at the 50th Annual Grammy Awards, and was also featured at the Opening Ceremonies of the Beijing Olympics. In 2009 he appeared on Time’s annual list of the 100 Most Influential People in the World. The following year he became an official worldwide ambassador for the 2010 Shanghai Expo. Seen as a symbol of the youth and future of China, Lang Lang is an inspiration to the 40,000,000 classical piano students there; therefore he has made it his mission to broaden the reach of classical music around the world, with a focus on children. In 2008 he established the Lang Lang International Music Foundation with the goal of expanding young audiences and inspiring the next generation of musicians through out- reach programs. His biography, Journey of a Thousand Miles, published by in eleven languages, was released to critical acclaim. He also released a version for younger readers, entitled Playing with Flying Keys. Lang Lang has performed for numerous international dignitaries, including the former Secretary General of the United Nations , Secretary General Ban Ki-moon, President , former presidents George H.W. Bush, George W. Bush, and William J. Clinton, Her Majesty Queen Elizabeth II, President Hu Jin-Tao of

56 China, President Horst Koehler of Germany, H.R.H. Prince Charles, Russian President , French President , and Polish President Lech Kaczynski. Recent high- lights include performing for President Barack Obama and President Hu Jin-tao at a White House State Dinner, and the Queen’s for Elizabeth II. In 2004 Lang Lang was appointed International Goodwill Ambassador to the United Nations Children’s Fund (UNICEF). He is also Chairman of the Montblanc de la Culture Arts Patronage Award Project, serves on the Weill Music Institute Advisory Committee as part of Carnegie Hall’s educational program, and is the youngest member of Carnegie Hall’s Artistic Advisory Board. One of the 250 Young Global Leaders selected by the , he received the 2010 Crystal Award in Davos. He was awarded an honorary doctorate of music from His Royal Highness The Prince of Wales at the Royal College of Music in May 2011 and in May 2012 received his second honorary doctoral degree in Musical Arts at the School of Music. In December 2011 he was honored with the highest prize awarded by the Ministry of Culture of the People’s Republic of China. In August 2012 he received Germany’s highest civilian honor, the Order of Merit of the Federal Republic of Germany, in recognition of his distinguished services to music. All of his albums have entered the top classical charts as well as many pop charts around the globe. In 2007 he became the first Chinese artist to earn a Grammy nomination for Best Instrumental Soloist. His most recent releases include a live recording of his 2010 recital at Vienna’s Musikverein, as well as a CD entitled “Liszt, My Piano Hero” and a DVD entitled “Liszt, Now!” (marking the 200th anniversary of the composer’s birth), and an album of solo piano works by Chopin. For further information visit langlang.com and langlangfoundation.org. Lang Lang’s only previous Boston Symphony appearance was at Tanglewood in August 2003, as soloist in Mendelssohn’s G minor piano concerto with Sir conducting. He makes his BSO subscription series debut in this week’s concerts.

week 18 guest artists 57 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

58 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • 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 • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9)

‡ Deceased

week 18 the great benefactors 59 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by February 15, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. O25 Denotes 25 years or more of consecutive giving to the Symphony Annual Fund

chairman’s $100,000 and above

Peter and Anne Brooke O25 • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999

Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg O25 • Stephen and Dorothy Weber O25 • Anonymous

encore $25,000 to $49,999

Mr. and Mrs. George D. Behrakis O25 • Joan and John Bok • Mr. and Mrs. John M. Bradley O25 • Jan Brett and Joseph Hearne O25 • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix O25 • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky O25 • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust O25 • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert O25 • Mr. and Mrs. Amos B. Hostetter, Jr. O25 • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde O25 • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer O25 • Sandra Moose and Eric Birch O25 • Megan and Robert O’Block O25 • Drs. Joseph and Deborah Plaud • William and Lia Poorvu O25 • Louise C. Riemer O25 • Richard and Susan Smith Family Foundation O25 • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2)

maestro $15,000 to $24,999

Alli and Bill Achtmeyer O25 • Lois and Harlan Anderson O25 • Lorraine D. and Alan S. ‡ Bressler • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser O25 • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille O25 •

60 Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança • Julie and Ronald M. Druker • Thelma and Ray Goldberg O25 • Mrs. Francis W. Hatch, Jr. O25 • Mr. and Mrs. Brent L. Henry • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. O25 • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis O25 • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce O25 • William and Helen Pounds • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore O25 • Kristin and Roger Servison • Joan D. Wheeler O25 • Robert and Roberta Winters patron $10,000 to $14,999

Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek O25 • Roberta and George Berry O25 • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black O25 • Eleanor L. and Levin H. Campbell O25 • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Donna and Don Comstock • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney O25 • Happy and Bob Doran • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman O25 • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide O25 • John Hitchcock O25 • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman O25 • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum O25 • John Magee O25 • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse O25 • Jerry and Mary Nelson • Mary S. Newman O25 • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata O25 • Tazewell Foundation O25 • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (6) sponsor $5,000 to $9,999

Noubar and Anna Afeyan • Vernon R. Alden O25 • Helaine B. Allen O25 • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory O25 • Dr. Ronald Arky • Dorothy and David Arnold O25 • Marjorie Arons-Barron and James H. Barron O25 • Diane M. Austin and Aaron J. Nurick O25 • Lloyd Axelrod, M.D. • Mrs. Hope Lincoln Baker • Judith and Harry Barr • Mrs. Tracy W. Barron • John and Molly Beard O25 • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark O25 • Marjorie B. and Martin Cohn • Mrs. Abram Collier O25 • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton O25 • Mrs. Bigelow Crocker O25 • David and Victoria Croll • Prudence and William Crozier • Joan P. and Ronald C. Curhan O25 • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Gene and Lloyd Dahmen • Robert and Sara Danziger • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II O25 • Lori and Paul Deninger • Charles and JoAnne Dickinson O25 • Michelle Dipp • Mrs. Richard S. Emmett O25 • Priscilla Endicott O25 • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold O25 • Shirley and Richard Fennell O25 • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway •

week 18 the higginson society 61 Jane and Jim Garrett O25 • Jordan and Sandy Golding O25 • Mr. and Mrs. Mark Goldweitz O25 • Mr. Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt • The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson O25 • Mr. and Mrs. Richard D. Hill O25 • Patricia and Galen Ho • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt O25 • Yuko and Bill Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy O25 • Mrs. Thomas P. King O25 • Seth A. and Beth S. Klarman O25 • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz O25 • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Rod and Dawn Nordblom • Mr. and Mrs. Joseph O’Donnell • Peter and Minou Palandjian • Mr. and Mrs. Joseph Paresky • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read O25 • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ O25 • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders O25 • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz O25 • Ron and Diana Scott • Robert and Rosmarie Scully O25 • Anne and Douglas H. Sears O25 • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare O25 • John and Katherine Stookey • Patricia L. Tambone O25 • Mr. and Mrs. Theodore H. Teplow O25 • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike O25 • Marian and Dick Thornton O25 • Dr. Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt O25 • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II O25 • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman O25 • Patricia Plum Wylde O25 • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas O25 • Anonymous (5)

member $3,000 to $4,999

Mrs. Herbert Abrams O25 • Mariann and Mortimer Appley • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar O25 • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • Deborah Davis Berman and William H. Berman O25 • Leonard and Jane Bernstein O25 • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi O25 • Annabelle and Benjamin Bierbaum O25 • Jim and Nancy Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig O25 • James Catterton and Lois Wasoff • Ms. Yi-Hsin Chang and Mr. Eliot Morgan • Mr. and Mrs. Dan Ciampa • Chris and Keena Clifford • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I. W. Colburn O25 • Marvin and Ann Collier O25 • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper O25 • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Drs. Anna L. and Peter B. Davol • Ashley Denton • Pat and John Deutch •

62 Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett O25 • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll O25 • Mrs. Harriett M. Eckstein O25 • Mrs. William V. Ellis • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell O25 • Ziggy Ezekiel and Suzanne Courtright Ezekiel O25 • Mary and Melvin Field • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Rose and Spyros Gavris O25 • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert O25 • Stephen A. Goldberger • Roberta Goldman O25 • Adele C. Goldstein O25 • Phyllis and Robert Green • Harriet and George Greenfield O25 • Madeline L. Gregory O25 • Mr. and Mrs. Nicholas P. Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Graham Gund O25 • Anne Blair Hagan • Elizabeth M. Hagopian • Janice Harrington and John Matthews O25 • Deborah Hauser O25 • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen O25 • Mrs. Nancy R. Herndon O25 • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • G. Lee and Diana Y. Humphrey O25 • Mr. and Mrs. R. Blake Ireland O25 • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Elizabeth C. Kent • Mary S. Kingsbery O25 • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Mr. Mason J.O. Klinck, Sr. • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin O25 • Mr. and Mrs. ‡ Benjamin H. Lacy O25 • Robert A. and Patricia P. Lawrence O25 • Mr. and Mrs. David S. Lee O25 • Cynthia and Robert J. Lepofsky • Brenda G. Levy • Emily Lewis O25 • Christopher and Laura Lindop • Thomas and Adrienne Linnell • Mrs. Satoru Masamune O25 • Michael and Rosemary McElroy • Mr. and Mrs. Jean Montagu • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse O25 • Anne J. Neilson O25 • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes O25 • Jan Nyquist and David Harding • Mr. and Mrs. Robert T. O’Connell • Mr. and Mrs. Gerald F. O’Neil O25 • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Mrs. Kitty Pechet • Dr. Alan Penzias • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Dr. Calvin J. Pierce • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam O25 • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John S. Reidy • Robert and Ruth Remis O25 • Dr. and Mrs. George B. Reservitz O25 • Sharon and Howard Rich O25 • Kennedy P. and Susan M. Richardson • Judy and David Rosenthal O25 • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene and David T. Rubin O25 • Jordan S. Ruboy, M.D. O25 • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Ms. Joanne Sattley • Betty and Pieter Schiller O25 • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr O25 • David and Marie Louise Scudder O25 • Robert E. Scully, M.D. • Eleanor and Richard Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound O25 • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann O25 • Valerie and John Stelling O25 • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone O25 • Henry S. Stone O25 • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl O25 • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike O25 • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham O25 • Mr. and Mrs. John H. Valentine O25 • Martha Voisin O25 • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mrs. Mary Wilkinson-Greenberg ‡ • Mr. and Mrs. Dudley H. Willis • Mrs. Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood O25 • Jane S. Young • Anonymous (10)

week 18 the higginson society 63

Administration

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

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

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

Gina Randall, Administrative/Operations Coordinator • 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 • Pam Wells, Controller

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

week 18 administration 65 66 development

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

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

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

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

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

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

week 18 administration 67 NICE PEOPLE ~ FINE MERCHANDISE ~ OLD-FASHIONED SERVICE ~ AND THE 2 BEST-LOOKING GOLDEN RETRIEVERS YOU’VE EVER SEEN

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070 New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • 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

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

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

week 18 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

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

week 18 administration 71 Next Program…

Thursday, March 14, 8pm Friday, March 15, 1:30pm Saturday, March 16, 8pm

conducting

mozart symphony no. 41 in c, k.551, “jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

thomas cello concerto no. 3, “legend of the phoenix” (world premiere; BSO commission) lynn harrell

{intermission}

saint-saëns symphony no. 3 in c minor, opus 78, “organ symphony” Adagio—Allegro moderato—Poco adagio Allegro moderato—Presto—Maestoso—Allegro olivier latry, organ

FRIDAY PREVIEW TALK BY BSO ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERTKIRZINGER

A new BSO-commissioned work receives its world premiere performances when Lynn Harrell is the featured soloist in American composer Augusta Read Thomas’s Cello Concerto No. 3, Legend of the Phoenix, conceived, according to the composer, as a series of “scenes with arias, with the solo cello as a ‘singing storyteller.’ ” Conducted by Christoph Eschenbach, the program also includes Saint-Saëns’s sonorous Symphony No. 3, his so-called Organ Symphony, featuring French organist Olivier Latry in his BSO debut, as well as Mozart’s Symphony No. 41, Jupiter, the com- poser’s final work in the genre and a pinnacle of the Classical style.

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

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

Sunday, March 10, 3pm Thursday ‘A’ March 28, 8-9:45 Jordan Hall, New England Conservatory UnderScore Friday March 29, 8-9:55 (includes comments from the stage) BOSTONSYMPHONYCHAMBERPLAYERS Saturday ‘A’ March 30, 8-9:45 DVORÁKˇ Bagatelles for two violins, cello, and harmonium, Op. 47 DANIELE GATTI, conductor ANNESOFIEVONOTTER, mezzo-soprano SCHULHOFF Concertino for flute, viola, and WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS,JOHNOLIVER, conductor MOZART String Quintet in G minor, K.516 BOYSOFPALSCHILDREN’SCHORUS, ANDYICOCHEAICOCHEA, conductor Thursday ‘C’ March 14, 8-10:05 MAHLER Symphony No. 3 Friday ‘A’ March 15, 1:30-3:35 Saturday ‘B’ March 16, 8-10:05 Tuesday ‘C’ April 2, 8-10 CHRISTOPHESCHENBACH, conductor RAFAELFRÜHBECKDEBURGOS LYNN HARRELL, cello , conductor GARRICKOHLSSON OLIVIER LATRY, organ , piano HINDEMITH MOZART Symphony No. 41, Jupiter Konzertmusik for strings and brass THOMAS Cello Concerto No. 3, Legend of the Phoenix (world premiere; RACHMANINOFF Rhapsody on a Theme BSO commission) of Paganini BARTÓK SAINT-SAËNS Symphony No. 3, for Orchestra

Thursday ‘D’ March 21, 8-9:55 UnderScore Friday April 12, 8-10:05 (includes comments from the stage) Friday ‘B’ March 22, 1:30-3:25 Saturday ‘B’ April 13, 8-9:55 Saturday ‘A’ March 23, 8-9:55 Tuesday ‘B’ March 26, 8-9:55 OLIVERKNUSSEN, conductor PINCHASZUKERMAN, violin DANIELE GATTI, conductor CLAIREBOOTH, soprano MICHELLEDEYOUNG, mezzo-soprano MIASKOVSKY Symphony No. 10 ALL- Orchestral excerpts from KNUSSEN WAGNER Götterdämmerung KNUSSEN Whitman Settings, for soprano PROGRAM Overture to Tannhäuser and orchestra Kundry’s narrative (“Ich sah das Kind”) from Parsifal MUSSORGSKY Pictures at an Exhibition, arranged by Leopold Stokowski Prelude to Act I of Lohengrin Prelude and Liebestod from Tristan und Isolde

Programs and artists subject to change.

week 18 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts.

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

week 18 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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