2017–18 season andris nelsons music director

week 24 brahms prokofiev

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 24

7 bso news 1 5 on display in symphony hall 17 in memoriam: john oliver 2 0 bso music director andris nelsons 2 2 the boston symphony orchestra 2 6 this week’s program

Notes on the Program

28 The Program in Brief… 29 Johannes Brahms 39 49 To Read and Hear More…

Guest Artists

53 Tugan Sokhiev 55 Vadim Gluzman

60 sponsors and donors 78 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on april 27 is given by bso director of program publications marc mandel.

program copyright ©2018 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Hilary Scott cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Egon Schiele Nude Self-Portrait (detail), 1910. Watercolor and black chalk on wrapping paper. The Albertina Museum, .

Rarely seen drawings from the Albertina Museum in Vienna

On view through May 28

Gustav Klimt Lady with Plumed Hat (detail), 1908. Presented with support from the Cordover Exhibition Fund, the Alexander M. Levine and Dr. Rosemarie D. Bria-Levine Exhibition Fund, the MFA Associates/MFA Senior Ink, graphite, colored pencil, and watercolor on Associates Exhibition Endowment Fund, the Museum Council Special Exhibition Asian paper. The Albertina Museum, Vienna. Fund, John H. Deknatel and Carol M. Taylor, and Stanley and Mary Ann Snider. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

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

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

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

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

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

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

week 24 trustees and overseers 3 ARRIVE RESTED AND READY. Enjoy flat-bed seats in Delta One® on most flights to Los Angeles and San Francisco. Proud to be the Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

Albert A. Holman, III • Lawrence S. • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

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

week 24 trustees and overseers 5

BSO News

Announcing the BSO’s 2018-19 Subscription Season For his fifth season as music director of the Boston Symphony Orchestra, Andris Nelsons will lead fourteen of the year’s twenty-six subscription programs, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to compelling con- certo collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO. Continuing his multi-season explorations of concert and operatic works in particular areas of interest, Maestro Nelsons’ program- ming includes Shostakovich’s first and last symphonies, 1 and 15, as part of the BSO’s ongoing Shostakovich cycle for Deutsche Grammophon; Bruckner’s Symphony No. 9; an all-Strauss program featuring Renée Fleming in the heartfelt final scene of the opera Capriccio; and concert performances of Puccini’s moving one-act opera Suor Angelica with Kristine Opolais and Violeta Urmana. Maestro Nelsons’ concerto collaborations include Rachmaninoff’s Concerto No. 3 with Daniil Trifonov, Schumann’s Piano Concerto with Yuja Wang, Szymanowski’s Violin Concerto No. 1 with Lisa Batiashvili, HK Gruber’s Aerial for and orchestra with Håkan Hardenberger, and the world premiere with violinist Baiba Skride of Sebastian Currier’s Aether, co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig. Additional commissions to be led by Andris Nelsons include the American premieres of Latvian composer Andris Dzenītis’ Mīra and English composer Mark-Anthony Turnage’s Remembering: In Memoriam Evan Scofield. Also new to the BSO are Latvian composer Maija Einfelde’s Lux aeterna for unaccompanied chorus, Lili Boulanger’s D’un Soir triste, and Olly Wilson’s Lumina. The works by Dzenītis and Einfelde are performed to mark the 100th anniversary of Latvian independence. Turnage’s Remembering is part of an English-themed program also including Haydn’s Symphony No. 93, the first of his dozen London symphonies, and Elgar’s Enigma Variations. Major choral works to be led by Maestro Nelsons include Mahler’s Symphony No. 2, Resurrection, with soloists Erin Morley and Bernarda Fink; Dvoˇrák’s Stabat Mater, with Kristine Opolais, Violeta Urmana, Dmytro Popov, and Ain Anger; and, for the BSO’s second “Leipzig Week in Boston,” J.S. Bach’s complete Christmas Oratorio, with renowned Bach singers Carolyn Sampson, Christine Rice, Sebastian Kohlhepp, and Andrè Schuen. Also in 2018-19, the BSO marks the 80th birthday of Boston-based composer John Harbison with performances of his Remembering Gatsby led by BSO Associate Conductor Ken-David Masur, Harbison’s Symphony No. 2 under Sir Andrew Davis, and a celebratory program performed by the Boston Symphony Chamber Players. BSO Artistic Partner Thomas Adès leads the world premiere of his own BSO-commissioned Piano Concerto with soloist Kirill Gerstein. BSO Youth and Family Concerts Conductor Thomas Wilkins, in his subscrip- tion series debut, leads music by African-American composers Adolphus Hailstork, Florence

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FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] Price, and Duke Ellington, plus Puerto Rican-born composer Roberto Sierra’s Concerto for Saxophones and Orchestra with soloist James Carter. In his first BSO appearances since his 2006 Tanglewood debut, the dynamic Venezuelan conductor leads two subscription programs—the first pairing Schumann’sSpring Symphony with Stravin- sky’s Rite of Spring, the second featuring the BSO debut of Caracas-born Argentine pianist Sergio Tiempo in Ginastera’s Piano Concerto No. 1, bookended by music of two Venezuelan composers: Paul Desenne’s El Caimán and Antonio Estévez’s Criolla. The season also brings the return to Symphony Hall of South Korean conductor Shi-Yeon Sung, who was a BSO assistant conductor from 2007 to 2010; the subscription series debut of Finnish con- ductor John Storgårds; and the BSO debut of English conductor Andrew Manze. Guest conductors and soloists also include Argentinian pianist Ingrid Fliter in her sub- scription series debut; the BSO debuts of Italian pianist Alessio Bax and Swiss pianist Francesco Piemontesi; and return appearances by conductors and Juanjo Mena, pianist Martin Helmchen, violinist Julian Rachlin, and cellist Truls Mørk. The Tanglewood Festival Chorus, James Burton, conductor, is featured in Maija Einfelde’s Lux aeterna, Mahler’s Resurrection Symphony, Bach’s Christmas Oratorio, Puccini’s Suor Angelica, Dvoˇrák’s Stabat Mater, and Estévez’s Cantata Criolla. The Lorelei Ensemble, Beth Willer, artistic director, appears in Puccini’s Suor Angelica, and the Boston Symphony Children’s Choir is featured in Britten’s Friday Afternoons, for children’s chorus and orchestra. Complete programs and further information are available online at bso.org. Subscriptions for the BSO’s 2018-19 Symphony Hall season can be purchased online at bso.org via a secure credit card transaction; by phone at (617) 266-7575, or in person at the Symphony Hall box office.

BSO Community Chamber Concert, April 29 in Worcester The BSO concludes its 2017-18 series of free, hour-long Community Chamber Concerts on Sunday, April 29, at 3 p.m. at the First Baptist Church in Worcester. The program includes Prokofiev’s Overture on Hebrew Themes, Opus 34, and Brahms’s in F minor for piano and strings, Opus 34, with BSO clarinetist Michael Wayne, BSO string players Bracha Malkin and Alexander Velinzon, violins, Cathy Basrak, viola, and Blaise Déjardin, cello, and

week 24 bso news 9 LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions in New York, London and Hong Kong.

To obtain a complimentary auction estimate, SALVADOR DALI please contact: (SPANISH, 1904-1989) Amy Corcoran Sold for £1,805,000 Director, New England ($2,512,000) +1 (617) 742 0909 [email protected]

bonhams.com/boston LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions pianist Jonathan Bass. A coffee-and-dessert reception for the audience and the musicians in New York, London and Hong Kong. will follow the performance. For further information, please visit bso.org and go to “Edu- cation & Community” on the home page. The BSO’s 2017-18 Community Concerts are To obtain a complimentary auction estimate, SALVADOR DALI sponsored by Takeda Pharmaceutical Company Limited. please contact: (SPANISH, 1904-1989) Amy Corcoran Friday Previews at Symphony Hall Director, New England +1 (617) 742 0909 Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s [email protected] Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s speaker on April 27 is Marc Mandel; next week’s, for the final Friday Preview of the season, is Robert Kirzinger.

individual tickets are on sale for all concerts in the bso’s 2017-2018 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Broadcasts on WCRB Boston Symphony Association of Volunteers BSO concerts are heard on the radio at unfold the history and traditions of the Bos- 99.5 WCRB. Saturday-night concerts are ton Symphony Orchestra—its musicians, broadcast live at 8 p.m. with host Ron Della conductors, and supporters—as well as offer Chiesa, and encore broadcasts are aired on in-depth information about the Hall itself. Monday nights at 8 p.m. In addition, inter- Tours are offered on selected weekdays at views with guest conductors, soloists, and 4:30 p.m. and some Saturdays at 5 p.m. BSO musicians are available online at clas- during the BSO season. Please visit bso.org/ sicalwcrb.org/bso. Current and upcoming tours for more information and to register. broadcasts include this week’s program led by Tugan Sokhiev featuring Vadim Gluzman in the Brahms Violin Concerto, followed Join Our Community of by Prokofiev’s Symphony No. 5 (April 28; Music Lovers— encore May 7); and BSO Conductor Emer- The Friends of the BSO itus Bernard Haitink’s all-Brahms program Attending a BSO concert at Symphony Hall featuring Emanuel Ax in the Piano Concerto is a communal experience—thousands No. 2, followed by the Symphony No. 2 (May of concertgoers join together to hear 100 5; encore May 14). musicians collaborate on each memorable performance. Without an orchestra, there is Go Behind the Scenes: no performance, and without an audience, The Irving W. and Charlotte F. Rabb it is just a rehearsal. Every single person is important to ensuring another great expe- Symphony Hall Tours rience at Symphony Hall. There’s another The Irving W. and Charlotte F. Rabb Sym- community that helps to make it all possible, phony Hall Tours, named in honor of the one that you might not notice while enjoying Rabbs’ devotion to Symphony Hall through a concert—the Friends of the BSO. Every $1 a gift from their children James and Melinda the BSO receives through ticket sales must Rabb and Betty (Rabb) and Jack Schafer, be matched by an additional $1 of contribut- provide a rare opportunity to go behind ed support to cover annual expenses. Friends the scenes at Symphony Hall. In these free, of the BSO help bridge that gap, keeping the guided tours, experienced members of the music playing to the delight of audiences all

week 24 bso news 11 year long. In addition to joining a commu- and piano (arranged for and string nity of like-minded music lovers, becoming quartet), and Verdi’s String Quartet in E minor. a Friend of the BSO entitles you to benefits Tickets for the first performance, by the West that bring you closer to the music you cher- Stockbridge Chamber Players—at the Luth- ish. Friends receive advance ticket ordering eran Church of the Newtons, 1310 Centre privileges, discounts at the Symphony Shop, Street, on Monday, May 21, at 7 p.m.—are and access to the BSO’s online newsletter $25 for adults, $10 for students, and available InTune, as well as invitations to exclusive at the door; proceeds benefit Resurrection donor events such as BSO and Pops working Lutheran Church in Roxbury. The second rehearsals, and much more. Friends member- performance—on Friday, May 25, at 6 p.m. ships start at just $100. To join our commu- at the Old Town Hall, a National Historic nity of music lovers in the Friends of the BSO, Register building, 9 Main Street, West Stock- contact the Friends Office at (617) 638-9276 bridge—will benefit the West Stockbridge or [email protected], or join online at Historical Society. Tickets at $35 can be bso.org/contribute. reserved by calling (413) 232-5055 or at [email protected]; they are also available from local merchants. BSO Members in Concert BSO associate principal clarinet Thomas Martin is soloist in Copland’s Clarinet Con- Those Electronic Devices… certo with the Pro Arte Chamber Orchestra As the presence of smartphones, tablets, under principal conductor Kevin Rhodes, on and other electronic devices used for com- Saturday, May 12, at 8 p.m. at First Baptist munication, note-taking, and photography Church in Newton Centre. Also on the pro- has increased, there have also been continu- gram are Daugherty’s Sunset Strip, Mozart’s ing expressions of concern from concertgoers Symphony No. 40, and the premiere of a and musicians who find themselves distracted new work by Howard Frazin. Tickets are not only by the illuminated screens on these $20-$70, available at proarte.org or by call- devices, but also by the physical movements ing (617) 779-0900. that accompany their use. For this reason, and as a courtesy both to those on stage and The Boston Artists Ensemble, founded by those around you, we respectfully request former BSO cellist Jonathan Miller, presents that all such electronic devices be completely a program entitled “Mother’s Day by the turned off and kept from view while BSO per- Sea” on Sunday, May 13, at 3 p.m. in the formances are in progress. In addition, please Shalin Liu Concert Hall, Rockport. Joining also keep in mind that taking pictures of the Mr. Miller, who performs Bach’s Suite No. 4 orchestra—whether photographs or videos— in E-flat for unaccompanied cello, are BSO is prohibited during concerts. Thank you very violinist Lucia Lin and pianist Mark Ryser. much for your cooperation. Also on the program are Kodály’s Duo for Violin and Cello, Prokofiev’s Sonata for Cello and Piano, and Scott Wheeler’s Songs With- Comings and Goings... out Words, recently composed for Mr. Miller. Please note that latecomers will be seated Tickets at $30 ($25 for seniors, $10 for stu- by the patron service staff during the first dents) are available at RockportMusic.org. convenient pause in the program. In addition, BSO members Sheila Fiekowsky, violin, please also note that patrons who leave the Daniel Getz, viola, Oliver Aldort, cello, and auditorium during the performance will not William Hudgins, clarinet, join violinist John be allowed to reenter until the next conve- Holland and clarinetist Catherine Hudgins nientpause in the program, so as not to dis- for two chamber music concerts including turb the performers or other audience mem- Crusell’s Rondo for two and strings, bers while the music is in progress. We thank Mozart’s Adagio and Fugue in C minor, you for your cooperation in this matter. K.546, J.S. Bach’s Cello Suite No. 3 in C, BWV 1009, Scriabin’s Romance for horn

week 24 bso news 13 on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

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

week 24 on display 15

IN MEMORIAM John Oliver June 4, 1939 – April 11, 2018

The Boston Symphony Orchestra is deeply saddened by the loss of John Budris John Oliver, who passed away in Great Barrington, Massachusetts, on April 11 at the age of 78, following a long illness. Mr. Oliver found- ed the Boston Symphony Orchestra’s Tanglewood Festival Chorus in 1970 and remained its sole conductor until his retirement in August 2015. Born to Marie and Frank Oliver in Teaneck, New Jersey, he is survived by his cousins Helene Carskaddin, Janet Domerski, Lyn Neandross, Jerilyn Simpson, and Nancy Sorge, as well as his dear friends Joel Evans, James Soules, and Anthony St. George. A concert in honor of Mr. Oliver’s memory will be scheduled during the 2018 Tanglewood season. Donations in his memory can be made to the Boston Symphony Orchestra’s Tanglewood Festival Chorus Fund.

In his forty-five years as conductor of the Tanglewood Festival Chorus, John Oliver prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orches- tra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. When Mr. Oliver stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season, he was awarded the BSO’s Tangle- wood Medal and received the newly created lifetime title of Founder and Conductor Laureate of the TFC. In 2016 and 2017 he held the Tanglewood Music Center’s Donald and Laurie Peck Master Teacher Chair.

John Oliver had a major impact on musical life in Boston and beyond through his work with count- less TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. His affiliation with the Boston Symphony began in 1964 when, at twenty-

four, he prepared the Sacred Hilary Scott Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tan- glewood Music Center.

In 1970, John Oliver was named John Oliver receiving the BSO’s Tanglewood Medal prior to the orchestra’s Director of Vocal and Choral performance of Beethoven’s Symphony No. 9 on August 16, 2015, his final Activities at the Tanglewood appearance as conductor of the Tanglewood Festival Chorus

week 24 17 Music Center and founded the Tanglewood Festival Chorus, going on to prepare the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with conductors Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, James Levine, Keith Lockhart, and John Williams. His album with the TFC of a cappella 20th-century American choral music recorded at the invitation of Deutsche Grammophon received a Grammy nomination in 1979. Mr. Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and

“John Oliver’s dedication to forming and then leading the Tanglewood Festival Chorus for 45 years represents an extraordinary commitment to the Boston Symphony Orchestra and to the art of choral singing. Our hearts go out to all who loved and respected John, including his many fans throughout the BSO family and beyond in the music world at large. John’s work with the TFC and the BSO over many decades will always be an important part of the orchestra’s great legacy and its mission to realize the very best in the classical music art form.” ANDRIS NELSONS, Ray and Maria Stata BSO Music Director

“Few people in the 137-year history of the BSO dedicated so many years of their creative lives to the orchestra as John Oliver during his 45-year tenure as conductor of the Tanglewood Festival Chorus. His enormous contribution to the BSO will be remembered far into the future. John’s loss is deeply felt by countless music fans and thousands of singers who have been personally moved by his profound musicianship, gregarious personality, and legendary sense of humor. There are no adequate words to describe how much he will be missed.” MARK VOLPE, Eunice and Julian Cohen BSO Managing Director

“Though I never had the chance to meet John Oliver in person, I am acutely aware of the high regard in which he was held by his singers, many of whom shared their most beloved musical experiences under his direction, guidance, and, inevitably, his friendship too. It is thanks to John’s incredible passion and dedication that the BSO has a prestigious chorus to call its own. His creative and innovative spirit will serve as an ongoing inspiration as the chorus and I continue and develop his important and unique musical legacy.” JAMES BURTON, BSO Choral Director and Conductor of the Tanglewood Festival Chorus

“For over four decades John Oliver was the center of the musical lives of thousands of singers who volunteered their time, energy, and talents for the privilege of working with him. What we all know about the major works in the choral repertoire we learned from John. Our devotion to him, and his to us, is evidenced by many who have sung for him and because of him for close to half a century. His legacy will live on through the musical lives of those lucky enough to have sung with John. We will honor his gift to us each time we raise our voices in song.” DAVID NORRIS, Chair of the Tanglewood Festival Chorus Committee

18 BSO Archives Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver held posts as con- ductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was a lecturer John Oliver with Seiji Ozawa at and then senior lecturer in music. While at MIT he conduct- Tanglewood in 1973 ed the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging rep- ertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thom- as McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’sPsalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records.

Mr. Oliver’s appearances as a guest conductor included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Sym- phony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for ’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. Mr. Oliver made his Montreal Symphony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Hilary Scott Award, presented by Choral Arts New England in recog- nition of his outstanding con- tributions to choral music. He was also the recipient of music degrees from the University of Notre Dame and the New England Conservatory.

John Oliver conducting the Tanglewood Festival Chorus at Seiji Ozawa Hall on August 14, 2015, the last of their annual Friday Prelude concerts together at Tanglewood

week 24 19 Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrated its first “Leipzig Week in Boston” that same month. In the sum- mer of 2015, following his first season as music director, his contract with the Bos- ton Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, , and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

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

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

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

week 24 andris nelsons 21 Boston Symphony Orchestra 2017–2018

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

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

22 photos by Winslow Townson and Michael Blanchard

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

week 24 boston symphony orchestra 23

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Thursday, April 26, 8pm Friday, April 27, 1:30pm | the norman v. and ellen b. ballou memorial concert Saturday, April 28, 8pm

tugan sokhiev conducting

brahms violin concerto in d, opus 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace vadim gluzman

{intermission} Marco Borggreve

26 prokofiev symphony no. 5 in b-flat, opus 100 Andante Allegro moderato Adagio Allegro giocoso

thursday evening’s performance of brahms’s violin concerto is supported by a gift from gene and lloyd dahmen. friday afternoon’s performance of brahms’s violin concerto is supported by a gift from barbara and fred clifford.

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

The evening concerts will end about 9:55, the afternoon concert about 3:25. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons , selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 24 program 27 The Program in Brief...

It was Sergei Prokofiev himself who provided the most useful and concise description of his own musical style, citing four characteristic elements—the classical, the innovative, the motoric, and the lyrical—balanced in different ways in each of his compositions throughout his career. His Fifth Symphony, the largest of his seven—a four-movement work both epic in scale and patriotic in character—represented his return to the genre after a gap of sixteen years. The January 1945 premiere—in , with Prokofiev himself on the podium, as Russian soldiers marched victoriously toward Berlin, with the end of World War II finally in sight—brought him one of the greatest triumphs of his career. The composer himself later described it as “a symphony on the greatness of the human soul.” Performances abroad soon followed, the first American perform- ances being given in November 1945 by the Boston Symphony Orchestra under the direction of its legendary conductor, Prokofiev’s friend, colleague, and supporter Serge Koussevitzky. A telegram from Prokofiev to Koussevitzky on that occasion eadr in part: “Happy you conducting American premiere my Fifth Symphony.... Sending sincere friendly greetings you and all members your magnificent orchestra.”

After composing his Symphony No. 2 in the summer of 1877, Brahms wrote his Violin Concerto the following year, with input from his close friend, the great violinist Joseph Joachim, whose advice Brahms had trusted for more than twenty years. Brahms revealed his plan for the concerto in a typically offhanded way, sending a few sketches to Joachim and asking his opinion. The collaboration continued unusually closely through a number of significant changes (one of the movements Brahms rejected, a brilliant scherzo, resurfaced in his Piano Concerto No. 2 a few years later) until Joachim played the premiere on New Year’s Day of 1879, with the composer conducting the Gewand- haus Orchestra of Leipzig. The piece is in three movements, with the discursive first movement, at twenty minutes, longer than the other two combined. The second is lyrically rhapsodic; the energetic finale is based on a striking Gypsy-flavored theme. At the first performance, the program also included the Beethoven Violin Concerto, a work of comparable size and scope. The juxtaposition probably didn’t help. Beethoven’s concerto was already familiar and revered, whereas Brahms’s was brand-new, and by a composer whose orchestral music was then regarded as dense, difficult, and severe. Within a generation, however, it was becoming a repertoire staple in its own right. Nowadays there is of course no such difficulty at all.

Marc Mandel/Robert Kirzinger

28 Johannes Brahms Violin Concerto in D, Opus 77

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He wrote the Violin Concerto in the summer and early fall of 1878, but the pub- lished score incorporates revisions made after the premiere, which was given by Joseph Joachim, the dedicatee, in Leipzig on January 1, 1879, with the composer conducting the Gewandhaus Orchestra.

IN ADDITION TO THE SOLO VIOLIN, the score of Brahms’s Violin Concerto calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings. At these performances, Vadim Gluzman plays the first-movement cadenza by Joseph Joachim.

Once someone called Johannes Brahms “a man without illusions.” That applied to the composer in several dimensions—personal, creative, and social. As man and artist Brahms was hard-headed, commonsensical, and without sentimentality. He did not, for example, believe that art could save the world, no matter how much the world around him in Vienna needed saving. Music for him was a private matter between composer and listener. However much of his heart and soul went into his work, he was not interested in talking about it. He had a fine sense of his particular gifts, that he was stronger in some respects than others. Really, as a composer he had no weak suits. But his relatively weakest suit had to do with instrumentation. By his own admission, he was fully com- fortable only with his own instrument, the piano.

All his life Brahms asked for advice from trusted musical friends. Chief among them were two of the legendary performers of the 19th century—pianist Clara Schumann, the love of old-bachelor Brahms’s life; and Joseph Joachim, the leading violinist of his gener- ation. Joachim, who was also an able composer, served from early on as Brahms’s chief adviser in handling the orchestra.

So when in the summer of 1878 Joachim got a note from Brahms saying “a few violin passages” would be forthcoming, he knew something big might be up. Johannes habitu-

week 24 program notes 29 Program page for the first Boston Symphony performance—also the first American performance— of the Brahms Violin Concerto on December 7, 1889, with then BSO concertmaster Franz Kneisel as soloist and Arthur Nikisch conducting (BSO Archives)

30 ally understated matters. When the passages arrived in the mail Joachim realized, surely with a thrill of joy and apprehension, that his old friend was finally writing a violin con- certo. Inevitably, it was going to be written with Joachim in mind. The violinist was being asked to collaborate.

It would not prove an easy assignment. The back-and–forth over the solo part was carried on by mail and in person, Joachim playing over passages and making suggestions, some- times rewriting sections of the solo part to make them more agreeable under the hand, more violinistic. Brahms was perennially impatient with matters of the kitchen when it came to instrumentation. He wanted a big, grand orchestral sound as in the First Piano Concerto, but he had to deal with the reality that a violin can’t make as much noise as a piano. As it turned out, in the midst of the early rehearsals and performances Brahms was forced to continue paring away at the textures to allow the violin to be heard.

As they worked, what usually happened was that Brahms would give Joachim a passage, the violinist would revise it, Brahms would throw out the revisions and come up with a third version, which might or might not work to Joachim’s satisfaction, and negotiations would begin again. When Joachim seemed to be slacking, Brahms threatened to find a more “severe” critic, then blithely continued to discard suggestions. Both men kept at it with dogged determination, both determined that this was going to be a great concerto. When all was said and done, in the final manuscript some of the violin part is in Joachim’s hand. Brahms also gave his collaborator the honor of writing his own cadenza—the one usually used today (as is the case in the present performances).

Joachim was anxious for the piece to be finished for a gala concert in Leipzig scheduled for New Year’s Day, 1879. Those hopes were threatened by a characteristically ironic letter from Brahms saying “the middle movements are bust—naturally they were the best ones! I’m writing a wretched adagio instead.” (One of the rejected movements, a huge fiery scherzo, ended up in the Second Piano Concerto.)

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week 24 program notes 31 r:EVOLUTION With a theme of r:EVOLUTION, the 2018 Festival brings world- class artists such as the Emerson, Brentano and Dover quartets, Cliburn winner Yekwon 37th Annual Sunwoo, young vocal sensation Davóne Tines, A Far Cry, the Rockport Chamber incomparable Pinchas Zukerman Music Festival Trio, and much more. Miriam Khalil in Ayre June 15™July 15, 2018 Barry Shiffman, artistic director

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32 Joseph Joachim (1831-1907)

In the end, the concerto did get its premiere in that New Year’s concert, but it was not a cheerful occasion. Brahms and Joachim were both rattled by the revisions that had continued down to the wire, and by some still unresolved balance problems. The perform- ance was probably shaky, the reception frosty. After the concert Brahms, Joachim, and their friend Edvard Grieg took the most sensible panacea: they headed for a tavern and got drunk. By the time the concerto was published as Opus 77, Brahms had polished it to his usual unforgiving standards. It endures as one of his essential masterpieces and one of the most beloved works in the concerto repertoire.

As much as anything he wrote, the Violin Concerto demonstrates Brahms’s singular mingling of tradition and innovation. In theory his model for a first movement of a con- certo is Mozart’s: the orchestra plays the first exposition alone, introducing the basic material, then the soloist enters and begins a second exposition that roughly follows the first, with new material from the soloist. But Brahms’s second exposition is quite altered from the first, and the entry of the soloist changes the equation drastically.

The movement is enormous, longer than the other two put together. It begins quietly, strings and low winds presenting a D major theme that sounds like a distant horn call. At a magical change to C major the sings a lyrical theme over pulsating strings. The first exposition largely unfolds as a calm and lovely expanse. Then a note of tension intrudes, ushering in the soloist with a D minor explosion of boldness and fury. The soloist takes over the music for a moment, like a little cadenza. From there on the second expo- sition, in contrast to the first, is a dialectic between peace and unrest.

Much of the time the violin plays rippling figures over the orchestra’s melodies, but none of the themes is very sustained until the end of the exposition, when the violin falls into a lyrical theme of melting beauty. The development produces a new tranquillo idea in the solo instrument. As part of the dialectic of tranquil and intense, that new theme

week 24 program notes 33 transforms into something ferocious. After the cadenza the orchestra enters quietly, but works up to a full-throated finish.

What Brahms jokingly called his “wretched adagio” begins with a hymnlike theme, featuring a serene oboe melody that the violin in fact never gets to play (to the peren- nial annoyance of soloists). Brahms tends to develop his material constantly; the violin enters not with an echo of the oboe theme but a variation of it. In the middle of the sim- ple ABA form the violin dispenses elegant garlands of notes that continue to the end.

All of Brahms’s concertos end in his Hungarian/Gypsy mode, and this one is the most uproarious of the lot. The tensions of the first movement resolve into gaiety. It is laid out more or less in sonata-rondo form, the rollicking leading theme returning regularly. The B-section recalls one of the furioso themes in the first movement, but without the anger. The finale is largely about delight, all the way to a breathtaking coda.

2017-18 Save the dates for our 2018-2019 season! SEPT. 21 & 23 Intimate Letters MOZART Divertimento in E-flat, K 563 JANÁCˇEK String Quartet No.2, ”Intimate Letters” NOV. 4 & 30 Trio of Trios SCHUBERT Piano Trio in B-flat, D 898 Salem MENDELSOHNN Piano Trio No. 1 in D minor, Op. 49 Friday Evenings at 8:00 WEIR “O Viridissima” North American Premiere In Historic JAN. 4 & 6 (More) Art of the String Quintet Hamilton Hall MOZART String Quintet No. 5 in D, K 593 DVORˇÁK String Quintet in E-flat, Op. 97 MAR. 1 & 3 Pierrot, Mystery, & Romance Brookline DEBUSSY Sonata for Violin and Piano, L 140 Sunday Afternoons DEBUSSY Sonata for Cello and Piano, L 135 at 3:00 In Beautiful SCHUMANN Piano Quintet in E-flat, Op. 44 St. Paul’s Church APR. 12 & 14 String Theory Please note Hamilton Hall is a Registered National Historic Landmark and BOCCHERINI String Quintet No. 75 in D, G 313 is not handicap accessible to the performance hall on the second floor. MENDELSOHNN String Quartet No. 2 in A minor, Op. 13 ARENSKY String Quartet No. 2, Op. 35 You ™ Are Hear BostonArtistsEnsemble.org

week 24 program notes 35 Ride to work with an old friend.

Joe Mathieu, now on Morning Edition.

wgbhnews.org In this work written for Joseph Joachim—Hungarian-born, a man of tumultuous tem- perament capable of great tenderness and vindictive fury—the music seems to echo its dedicatee. It certainly echoes his virtuosity. History calls Brahms the great abstractionist in his music, but he never claimed that quality for himself, and now and then he admit- ted how deeply his music was rooted in his life.

All the same, most of the time Brahms kept people at a distance. He also tried with varying success to keep his person at a distance from history. Around the time he fin- ished the Violin Concerto he grew his famous beard. It changed his appearance so much that friends sometimes didn’t recognize him. Brahms was delighted with the effect. He took to changing his voice and introducing himself as “Kapellmeister Müller from Braunschweig.” So began the bearish-old-patriarch disguise he would wear to the end, but the passionate young man he had been lived on in his music.

Jan Swafford jan swafford is a prizewinning composer and writer whose books include “Beethoven: Anguish and Triumph”; “Johannes Brahms: A Biography”; “The Vintage Guide to Classical Music,” and “Language of the Spirit: An Introduction to Classical Music.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

THE BOSTON SYMPHONY ORCHESTRA GAVE THE FIRST AMERICAN PERFORMANCE of the Brahms Violin Concerto on December 7, 1889, with BSO concertmaster Franz Kneisel as soloist and Arthur Nikisch conducting. Kneisel played it in subsequent seasons with Emil Paur and Wilhelm Gericke. It has also been performed at BSO concerts by Adolph Brodsky (Nikisch), Maud MacCarthy (Gericke), Fritz Kreisler (Gericke, Max Fiedler, Karl Muck), Hugo Heermann (Gericke), Carl Wend- ling (Muck), Mischa Elman and Felix Barber (Fiedler), Anton Witek (Fiedler, Muck), Carl Flesch (Muck), Albert Stoessel (), Richard Burgin (Monteux, Serge Koussevitzky), Vladimir Resnikoff and Georges Enesco (Monteux), Jacques Thibaud (Michael Press), Albert Spalding (Burgin), Jascha Heifetz, Nathan Milstein, Adolf Busch, Bronislav Huberman, Paul Makovsky (Koussevitzky), Joseph Szigeti (Koussevitzky, Charles Munch), Efrem Zimbalist (Koussevitzky), Ginette Niveu (Burgin), , Patricia Travers, Arthur Grumiaux (Munch), Isaac Stern (Munch, Monteux), Leonid Kogan (Monteux), Christian Ferras, Jacob Krachmalnik, and Roger Shermont (Munch), Zino Francescatti (Burgin, Erich Leinsdorf, William Steinberg), Shmuel Ashkenasi and Joseph Silverstein (Leinsdorf and Eugene Ormandy), David Oistrakh (Steinberg), Miriam Fried (Silverstein, Klaus Tennstedt), Gidon Kremer (Colin Davis), Henryk Szeryng (Andrew Davis), Salvatore Accardo (Leonard Slatkin), Stern and Itzhak Perlman (Seiji Ozawa), Uto Ughi (Giuseppe Sinopoli), Midori (Slatkin), Ida Haendel (Claus Peter Flor), Perlman again (Marek Janowski), Malcolm Lowe and Maxim Vengerov (Ozawa), Kyung-Wha Chung and Joshua Bell (André Previn), Gil Shaham (Hans Graf and Ludovic Morlot), Frank Peter Zimmermann (James Conlon and Christoph von Dohnányi), Leonidas Kavakos (Rafael Frühbeck de Burgos), Christian Tetzlaff (James Levine), Joshua Bell again (Yan Pascal Tortelier), Arabella Steinbacher (Jaap van Zweden), Nikolaj Znaider (Bernard Haitink), Julia Fischer (the most recent subscription performances, with , in February/March 2015), and Nikolaj Znaider again (the most recent Tanglewood performance, with Juanjo Mena on August 12, 2017).

week 24 program notes 37 23 Newmarch Street 4.6± Acres | Ipswich, MA | $2,695,000

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SERGEI SERGEIEVICH PROKOFIEV was born in Sontsovka, Ekaterinoslav district, Ukraine, on April 27, 1891, and died at Nikolina Gora, near Moscow, on March 5, 1953. He composed most of the Symphony No. 5 during the summer of 1944 at a composers’ retreat in Ivanovo, , and completed it in Moscow that autumn. Prokofiev himself conducted the premiere performance at the on January 13, 1945, with the State Symphonic Orchestra of the USSR. Serge Koussevitzky and the Boston Symphony Orchestra gave the first American performances in November 1945.

THE SCORE OF PROKOFIEV’S SYMPHONY NO. 5 calls for two flutes and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, , , , wood block, , tam-tam, harp, piano, and strings.

Sergei Prokofiev did not see combat during World War II, but like all Soviet citizens his life was drastically altered—and scarred—by the Nazis’ bestial invasion of the USSR that began in June 1941. In August, Prokofiev left threatened Moscow on a special evacuation train, along with many other leading Soviet artistic figures. For the next two years he lived a nomadic, Spartan, and exhausting life in cramped hotel rooms and dormitories, accompanied by his new romantic partner and literary collaborator, . (His wife Lina and their two sons had remained behind in Moscow.)

Their first stop was Nalchik, in the exotic northern Caucasus mountain region. Soon the advancing German army forced them further south to Tbilisi, capital of Soviet Georgia. Six months later they moved to Alma-Ata, in Kazakhstan, near the Chinese border, to work with film director Sergei Eisenstein on the score forIvan the Terrible. Next Prokofiev and Mendelson made a long, slow voyage across desolate Kazakhstan and up the Volga River to Perm. There, the composer worked with the Kirov Theater (evacuated from besieged Leningrad) on the ballet . Only in early autumn of 1943 did Prokofiev and Mendelson return to Moscow, their home for the next decade.

week 24 program notes 39 Program page for the first Boston Symphony performances—the American premiere performances— of Prokofiev’s Symphony No. 5 on November 9 and 10, 1945, with Serge Koussevitzky conducting (BSO Archives)

40 Those who knew Prokofiev well noticed that these difficult wartime experiences—and his new romance with Mendelson—had softened his often formal, sarcastic, and distant demeanor. The composer became somewhat more sociable and less abrupt with his Soviet colleagues. During the war Prokofiev also produced numerous scores for patriotic films (including Ivan the Terrible), and most of the opera , whose subject bore an obvious resemblance to the country’s current struggle for survival. But perhaps the crown- ing achievement of Prokofiev’s intense wartime output was the Fifth Symphony, a score that conveys much of the anguish, terror, grief, and triumph of Soviet life in those years.

Later, Prokofiev would say that he considered his work on the Fifth “very important not only for the musical material that went into it, but also because I was returning to the symphonic form after a break of sixteen years. The Fifth Symphony is the culmination of an entire period in my work. I conceived of it as a symphony on the greatness of the human soul.” Although he did not give the symphony a descriptive title (as Shostakovich had done with his 1941 Leningrad Symphony), program, or even a dedication, he clearly thought of it as his “war symphony.” Its composition went quickly in summer 1944, at Ivanovo, a bucolic retreat for Soviet composers outside Moscow.

At about forty-five minutes long, the Fifth is the largest of Prokofiev’s seven symphonies, and nearly three times as long as the ironic Symphony No. 1 (Classical). If the Classical took its inspiration from Haydn and the 18th century, the Fifth turns to the late Romantic tradition (Brahms, Tchaikovsky) and to the heritage of the Soviet symphonic masters—

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especially Prokofiev’s colleague and sometime rival Shostakovich. It graphically illus- trates the sea change that had occurred in Prokofiev’s thinking about symphonic form and language since 1917, when he dashed off the jocular Classical in the midst of the Russian Revolution.

Most striking about the Fifth is its epic scale and character. Here, for the first time, Prokofiev uses the massive patriotic style that had proven so successful in his vocal and dramatic music of the late 1930s and early 1940s (Alexander Nevsky, , War and Peace, Ivan the Terrible) in a non-programmatic format. The themes, orchestration, and mood are broad and strong; the irony and grotesquerie that permeate the Classical Symphony and so many other works of Prokofiev’s youth play a greatly reduced—though still essential—role.

Critics had often complained that the fragmentary “montage” style of Prokofiev’s sym- phonic music failed to develop ideas to their full potential, and that his large compositions consisted merely of a succession of tenuously related episodes. These criticisms were aimed in particular at his symphonies 3 and 4, which were based on themes written originally for opera and ballet, respectively. But the Fifth is different. Its individual move- ments and the symphony as a whole proceed with a strong sense of continuity and drama, building to a cathartic musical and emotional climax.

Like the Piano Sonata No. 8, completed just before it, the Fifth Symphony demonstrates an unusual preference for slow tempos. Both the first (Andante) and third (Adagio) movements—more than half of the symphony—are predominantly slow. The long first

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BostonSymphony May18 Miller ND2017.indd 1 3/30/18 5:37 PM movement, in sonata-allegro form, opens with a heroic but supple theme, free of chromat- ic alteration and ironic leaps, in the tonic key of B-flat major. Few themes in Prokofiev’s entire oeuvre can match it for power and expansiveness. (Its bold return in the opening bars of the fourth movement and elsewhere provides emotional and structural unity.) The first movement’s second theme, announced by oboes and flutes, is more chromatic, in the optimistic neoclassical idiom of the recently completed Sonata. Here and in the following three movements, the piano is prominent, for both percussive and melodic effect. In contrast to the first movement’s epic expanse, the second is light and jocular, contrasting a gently tongue-in-cheek martial theme with a free-falling one in ABA form. Constructed over an insistent ostinato in eighth-notes, the music creates a strong sense of dance, reminiscent of Romeo and Juliet and Cinderella.

Tragedy dominates only in the long, slow third movement—especially in the grief and pathos of the funeral march in 3/4 meter. In marked rhythmic contrast to the unusual, flowing 9/8 meter of the rest of the movement, Prokofiev here juxtaposes sets of triplets against quarter-notes and eighth-notes, producing a rocking, unsettling effect, while spinning out a serene melody taken by different woodwind instruments in turn. The compact, action-packed last movement (in sonata-allegro form), with its playful, jaunty main theme full of optimism and joy, breaks this reflective, nostalgic mood. Similarly bright and cheerful is a second theme. The finale and coda are startling and original: a rambunctious galloping romp propelled by wood block, triangle, cymbals, and piano, recalling the clock striking midnight in Cinderella.

By the time of the premiere on January 13, 1945, the Red Army was advancing on Berlin and the defeat of Nazi Germany was in sight. So important did Prokofiev (who did not much enjoy conducting) consider this occasion that he conducted the first performance himself, on the legendary stage of the Great Hall of the Moscow Conservatory. All of the prominent figures in Moscow musical life attended. Among them was Prokofiev’s friend and collaborator, the pianist .

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46 “The Great Hall was illuminated, no doubt, the same way it always was,” Richter wrote later, “but when Prokofiev stood up, the light seemed to pour straight down on him from somewhere up above. He stood like a monument on a pedestal. And then, when Prokofiev had taken his place on the podium and silence reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited, and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us—including Prokofiev—had reached some kind of shared turning point.”

The salvos came from Soviet cannons, paying tribute to the Red Army soldiers who had just crossed the Vistula on their victory march towards Berlin. The end of the war, which caused more suffering and casualties in the USSR than for any other participant, was now clearly in sight. When the orchestra finally began to play, it seemed to continue the music begun by the cannons.

Soon after the Moscow premiere, the Fifth Symphony was performed abroad. Acknowl- edging the first Boston Symphony performance (the American premiere), Prokofiev sent a telegram—in English—to his old friend and colleague, the conductor Serge Koussevit- zky. They had known each other in Russia before the Bolshevik Revolution and during the 1920s and ’30s had appeared together with the BSO in Boston on numerous occa- sions. Dated November 6, 1945, it reads: “Happy you conducting American premiere my Fifth Symphony. Work very close to my heart. Sending sincere friendly greetings you and all members your magnificent orchestra.”

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

THE FIRST BOSTON SYMPHONY PERFORMANCES—THE AMERICAN PREMIERE PERFORM- ANCES—of Prokofiev’s Symphony No. 5 were given by Serge Koussevitzky on November 9 and 10, 1945, in Symphony Hall, followed that same season by performances in New Haven, at Carnegie Hall in New York, at Hunter College in New York (broadcast on radio—an evening performance, following a matinee concert at Carnegie Hall that same day!), Pittsburgh, Chicago, Ann Arbor, Rochester, Boston (December 1945), Washington, Boston again (February 1946), New York again, Philadelphia, and at Tanglewood (August 1946). Koussevitzky led the work again in Boston, Brooklyn, and New York in November 1948, subsequent BSO performances being given by Leonard Bernstein, Richard Burgin, Erich Leinsdorf, Eugene Ormandy, Lawrence Foster, Joseph Silverstein, Leonard Slatkin, Kent Nagano, Carl St. Clair (replacing Gennady Rozhdestvensky, who was ill), David Wroe, Neeme Järvi, André Previn, Giancarlo Guerrero (the most recent subscription perform- ances, in November 2012), and Jacques Lacombe (the most recent Tanglewood performance, on July 8, 2016).

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Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the “Master Musicians” series (Schirmer); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a com- pendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Walter Frisch’s Brahms: The Four Sympho- nies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms per- sonally (published originally in 1905 but periodically available in reprint editions). Joan Chissell discusses the Brahms Violin Concerto in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of his symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washington paperback); for more detailed analysis, go to Michael Musgrave’s The Music of Brahms (Oxford paperback) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). Michael Steinberg’s notes on Brahms’s Violin Concerto, two piano concertos, and Double Concerto for violin and cello are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the Violin Concerto is among his Essays in Musical Analysis (Oxford paperback).

Vadim Gluzman has recorded the Brahms Violin Concerto with James Gaffigan conduct- ing the Lucerne Symphony Orchestra (BIS). Noteworthy recordings (listed alphabeti- cally by soloist) also include Julia Fischer’s with Yakov Kreizberg and the Netherlands Philharmonic (Pentatone), Hilary Hahn’s with Neville Marriner and the Academy of St. Martin in the Fields (Sony), Leonidas Kavakos’s with Riccardo Chailly and the Gewand- haus Orchestra of Leipzig (Decca), Christian Tetzlaff’s with Thomas Dausgaard and the Danish Radio Symphony Orchestra (Virgin Classics), and Nikolaj Znaider’s with Valery Gergiev and the Vienna Philharmonic (RCA). Noteworthy older recordings include Jascha Heifetz’s with Fritz Reiner and the Chicago Symphony Orchestra (RCA), David Oistrakh’s with George Szell and the Cleveland Orchestra (EMI), and Itzhak Perlman’s with Carlo Maria Giulini and the Chicago Symphony (EMI). Serge Koussevitzky and the Boston Symphony Orchestra recorded the Brahms Violin Concerto with Jascha Heifetz in 1939 (originally RCA). Other important historic issues are Yehudi Menuhin’s with

week 24 read and hear more 49

Wilhelm Furtwängler and the Lucerne Festival Orchestra (originally EMI) and Ginette Neveu’s with Issay Dobrowen and the Philharmonia Orchestra (also originally EMI). Earlier still are Fritz Kreisler’s two recordings, from 1936 with John Barbirolli conduct- ing the London Philharmonic and from 1927 with Leo Blech conducting the Berlin State Opera Orchestra (various CD reissues).

The important modern study of Prokofiev is Harlow Robinson’s Sergei Prokofiev: A Biography, published originally in 1987, and reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”-vs.- “Western” perspectives typical of their time, as reflected in such older volumes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence Northeastern( University). Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). David Fanning discusses Prokofiev’s symphonies in his chapter on “The Symphony in the (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Symphony–A Lis- tener’s Guide includes his program notes on Prokofiev’s symphonies 1 Classical( ), 5, and 6 (Oxford University paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobiographical account covering the first seventeen years of Prokofiev’s life, through his days at the St. Petersburg Conserva- tory (Doubleday).

There are two Boston Symphony Orchestra recordings of Prokofiev’s Symphony No. 5, both made originally for RCA: with Serge Koussevitzky conducting, from 1946, and with Erich Leinsdorf conducting, from 1963. Among the many other recordings of Prokofiev’s Fifth Symphony are those by Marin Alsop with the São Paulo Symphony Orchestra (Naxos), Leonard Bernstein with the New York Philharmonic (Sony), Valery Gergiev with the London Symphony Orchestra (Philips) or live with the Mariinsky Theatre Orchestra (Mariinsky), Kurt Masur with the New York Philharmonic (Apex), André Previn with the London Symphony Orchestra (EMI), and Gennady Rozhdestvensky with the Leningrad Philharmonic (BBC Legends, a monaural concert performance).

Marc Mandel

week 24 read and hear more 51

Guest Artists

Tugan Sokhiev

The internationally acclaimed Russian conductor Tugan Sokhiev made his BSO debut last week and leads a second subscription series this week. Music director of the Orchestre National du Capitole de Toulouse (ONCT) for more than a decade, Mr. Sokhiev is also music director and conductor of the Bolshoi Theatre in Moscow and through the end of the 2015-16 season served as music director of the Deutsches Symphonie-Orchester (DSO) Berlin. In addition to his BSO debut, highlights of his current season include engagements with the Berlin Philharmonic, Deutsches Symphonie-Orchester, and NHK Symphony Orchestra, as well as leading the ONCT throughout France and on tour to South America and Asia. In recent seasons he has conducted the Vienna Philharmonic (notably at the Lucerne Festival), Chicago Symphony Orchestra, London Symphony Orchestra, Philadelphia Orchestra, Leipzig’s Gewandhaus Orchestra, the Berlin Philhar- monic, and at the NHK Music Festival, also touring Europe with both the Philharmonia Orchestra and Mahler Chamber Orchestra. Mr. Sokhiev has toured extensively with the ONCT in Europe, Asia, the United Kingdom, and South America and with DSO Berlin in Europe. Since 2003 he has conducted the Philharmonia Orchestra every season in London and toured with that orchestra in Europe. He has appeared as a guest conductor with the Vienna Philharmonic at the Mozartwoche Festival, Finnish Radio Symphony, NHK Symphony, Rotterdam Philharmonic, National Philharmonic of Russia, Accademia Nazionale di Santa Cecilia, RAI Turin, the orchestras of La Scala and the Bayerische Staatsoper, the Bournemouth Symphony, Swedish Radio Symphony Orchesta, Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, Munich Philharmonic, and Orchestre

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54 National de France. Recent operatic engagements have included new productions of Katerina Ismailova and La Damnation de Faust at the Bolshoi Theatre. Tugan Sokhiev gained extensive opera experience early on, including many productions for the Mariinsky The- atre and Welsh National Opera; he has appeared as guest conductor at the Metropolitan Opera with the Mariinsky, at Houston Grand Opera, at the Aix-en-Provence Festival, and in Madrid. He was named “Musical Discovery of the Year” by the French Critics’ Union in 2005 for his performance at the Théâtre des Champs-Élysées with the Orchestre Nation- al du Capitole. Following many engagements in Toulouse, Berlin, Paris, London, and Vienna, Tugan Sokhiev swiftly established himself with orchestras, audiences, and critics alike. His discography includes acclaimed recordings for Naïve Classique with the Orchestre National du Capitole de Toulouse, including Tchaikovsky’s symphonies 4 and 5, Mussorg- sky’s Pictures at an Exhibition, Rachmaninoff’s Symphonic Dances, Prokofiev’sPeter and the Wolf, and Stravinsky’s Rite of Spring and Firebird. Releases on Sony Classical with DSO Berlin include Prokofiev’sIvan the Terrible, Fifth Symphony, and .

Vadim Gluzman

Vadim Gluzman’s artistry harkens back to the glorious violin tradition of the 19th and 20th centuries. His wide repertoire also embraces new music, and his performances are heard worldwide through live broadcasts and an extensive catalog of award-winning record- ings exclusively for the BIS label. The Israeli violinist appears regularly with such major orchestras as the Berlin Philharmonic, Cleveland Orchestra, Chicago Symphony, Phila- delphia Orchestra, , Israel Philharmonic, London Philharmonic, London Symphony, and Gewandhaus Orchestra of Leipzig, with such leading conductors as Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis, , Jukka-Pekka Saraste, Paavo Järvi, and Hannu Lintu. Festival appearances include Verbier, Tanglewood, Ravinia, and Lockenhaus, as well as the North Shore Cham- ber Music Festival in Chicago, founded by Mr. Gluzman and pianist Angela Yoffe, his wife and recital partner. This season, besides his BSO subscription series debut this week and debut performances with the Royal Concertgebouw Orchestra under Chailly, he

week 24 guest artists 55 returns to the Gewandhaus Orchestra; celebrates Leonard Bernstein’s centennial year with performances of the Serenade after Plato’s “Symposium” with the BBC Symphony and San Francisco Symphony; tours Europe in a trio with pianist Yevgeny Sudbin and cellist Johannes Moser; and appears as soloist with the Toronto, Vancouver, Oregon, Göteborg, and Lucerne symphonies, the Czech Philharmonic, and Finnish Radio Orchestra. In addi- tion, he leads performances with the Vienna Chamber Orchestra and the ProMusica Chamber Orchestra in Columbus, Ohio, where he continues in his fourth year as creative partner and principal guest artist. Also this season, he performs the European premiere of Sofia Gubaidulina’s Triple Concerto for violin, cello, and bayan with Johannes Moser, Elsbeth Moser, and the Tonhalle Orchestra Zurich under Omer Meir Wellber. Mr. Gluz- man has given live and recorded premieres of other works by Gubaidulina, as well as by Giya Kancheli, Peteris Vasks, Michael Daugherty, Lera Auerbach, and Elena Firsova. His latest CD features Brahms’s Violin Concerto with the Lucerne Symphony under James Gaffigan and includes the composer’s Violin Sonata No. 1 with Angela Yoffe. Accolades for his recordings include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica Magazine’s Choc de Classica, and Disc of the Month honors from The Strad, BBC Music Magazine, ClassicFM, and others. Born in the former Soviet Union in 1973, Vadim Gluzman began violin studies at seven. He studied with Roman Sne in Latvia and Zakhar Bron in Russia before moving in 1990 to Israel, where he became a student of Yair Kless. In the United States he studied with Arkady Fomin in Dallas and at the Juilliard School with Dorothy DeLay and Masao Kawasaki. Early in his career, he was mentored by Isaac Stern. Recipient of the Henryk Szeryng Foundation Career Award, he plays the legendary 1690 “ex-Leopold Auer” Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago. Vadim Gluzman’s only previous BSO appearance was as soloist in Beethoven’s Violin Concerto in July 2015 at Tanglewood, with Christoph von Dohnányi conducting.

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New Philharmonia Orchestra is a member of the Newton Cultural Alliance. newtonculture.org The Great Benefactors

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

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

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

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

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

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

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

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

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

‡ Deceased week 24 the great benefactors 61 Your A ernoon Exhale

A service of WGBH A SERVICE OF WGBH

Download the App Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

season 2017-18 finale The Good Song sun. May 13 • 7:30 PM M Quintet for Piano & Winds in E-flat major, K. 452 sanders Theatre F La Bonne Chanson, for Voice, Piano & Strings, Op. 61 S Octet for Winds & Strings in F major, D. 803 617.349.0086 • www.bostonchambermusic.org BSO Major Corporate Sponsors 2017–18 Season

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

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

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO. 64 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- Director of Sales- chusetts and beyond with each passing season. As the BSO continues to New England help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

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

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

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

week 24 bso major corporate sponsors 65 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston Senior Living. Exceptional Assisted Living Steps from Symphony Hall Perfectly Orchestrated.

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3 CDs $34.99 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Administration

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

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

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

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

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis Michelle Bourbeau, Payroll Administrator • James Daley, Accounting Manager • Kevin Golden, Payroll Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

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

John Davis, Associate Director of Human Resources • Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter

week 24 administration 71 more time for the gym “Until I moved to Newbury Court I never had time for the gym. Now that I’m no longer saddled with the burdens of a big home, I have more time to pursue my passions and to enjoy working out in the gym everyday with our personal trainer.” Make time to visit Newbury Court today. Call 978.369.5155 to arrange a tour.

100 Newbury Court Concord, MA 01742 facebook.com/newburycourt www.newburycourt.org .

STAY TUNED FOR OUR POWDER HER FACE 2018–2019 SEASON ANNOUNCEMENT!

Odyssey Opera presents adventurous and eclectic repertoire that affirm opera as a powerful expression of the human experience and advances the operatic genre beyond the familiar and into undiscovered territory.

JOIN THE JOURNEY AT ODYSSEYOPERA.ORG PICTURED: PATRICIA SCHUMAN IN THOMAS ADÈS’ ADÈS’ THOMAS IN SCHUMAN PATRICIA PICTURED: FILMS. SQUARE WITTMAN/BALL KATHY PHOTO:

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

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

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

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

week 24 administration 73 74 Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Jerry Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

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

week 24 administration 75 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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

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

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG Next Programs…

Tuesday, May 1, 8pm Thursday, May 3, 8pm Saturday, May 5, 8pm

bernard haitink conducting

all-brahms program

piano concerto no. 2 in b-flat, opus 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso emanuel ax

{intermission}

symphony no. 2 in d, opus 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

BSO Conductor Emeritus Bernard Haitink leads the final subscription series of the 2017-18 season, an all-Brahms program featuring beloved pianist Emanuel Ax in the composer’s monumental Piano Concerto No. 2. Written in 1881, more than twenty years after the turbulent First, the Second Concerto is a magisterial, far-ranging work of symphonic proportions, in four move- ments rather than a typical concerto’s three. Brahms’s Symphony No. 2 was composed relatively quickly in 1877, following his extended, years-long effort to complete the long-awaited First, which he finished the year before. The lilting Second Symphony is generally regarded as the most genial and relaxed of Brahms’s four great works in the genre.

78 Friday, May 4, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) moritz gnann conducting gabrieli canzon septimi toni no. 2 (arr. robert king) canzon noni toni (arr. king) sonata pian’e forte (arr. king) canzon per sonar duodecimi toni (arr. timothy higgins) marcello concerto in c minor for oboe, strings, and continuo Andante spiccato Adagio Presto john ferrillo rossini suite from “the barber of seville,” arranged for winds by wenzl sedlak Overture La calunnia e un venticello Di si felice innesto Largo al factotum

{intermission} mozart symphony no. 40 in g minor, k.550 Allegro molto Andante Menuetto: Allegretto Allegro assai

BSO Assistant Conductor Moritz Gnann leads this single Friday-afternoon concert, which fea- tures principal oboe John Ferrillo in the Oboe Concerto of Alessandro Marcello, a slightly older contemporary of his fellow Venetian, Antonio Vivaldi. Opening the program is a group of can- zonas by the earlier Venetian composer Giovanni Gabrieli, who was active in the late 1500s and early 1600s. The instrumental canzone was a contrapuntal instrumental genre that grew out of the earlier vocal tradition of the chanson. Completing the first half of this program is a wind-ensemble arrangement of numbers from Rossini’s delightful and familiar 19th-century comic opera The Barber of Seville. Mozart’s G minor symphony, No. 40, was the second of his group of three final symphonies composed in 1788 in a matter of weeks. Emotionally intense and exquisitely balanced, it is among the most enduringly popular of all the composer’s works, and will be heard here in Mozart’s revised instrumentation with added clarinets.

week 24 next programs 79 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you connect to each and every performance here at Symphony Hall. You can deepen your connection to the music you love by becoming a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances, keeping incredible music accessible to all who wish to hear. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. Coming Concerts… friday previews and pre-rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Tuesday ‘B’ May 1, 8-9:50 Friday ‘B’ May 4, 1:30-3:20 Thursday ‘D’ May 3, 8-9:50 MORITZ GNANN, conductor Saturday ‘A’ May 5, 8-9:50 JOHN FERRILLO, oboe BERNARD HAITINK, conductor GABRIELI Canzonas for brass EMANUEL AX, piano MARCELLO Concerto in C minor for oboe, ALL-BRAHMS Piano Concerto No. 2 strings, and continuo PROGRAM Symphony No. 2 ROSSINI Suite from Il barbiere di Siviglia, (ARR. SEDLAK) for wind ensemble MOZART Symphony No. 40, K.550

The BSO’s 2017-18 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

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

week 24 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

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

week 24 symphony hall information 83 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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