Boston Symphony Orchestra Archives

2017–18 season andris nelsons music director

opening night at symphony

celebrating leonard bernstein september 22, 2017

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Opening Night

7 on display in symphony hall 8 bso music director andris nelsons 10 the boston symphony orchestra 13 a brief history of the bso 17 a brief history of symphony hall 21 a message from andris nelsons 2 3 symphony gala 2017 2 6 bernstein, boston, and the bso 3 0 this evening’s program 3 3 notes on the program 4 0 to read and hear more… 4 2 guest artists

42 Elizabeth Rowe 43 Frederica von Stade 45 Julia Bullock 46 Tanglewood Festival Chorus

4 8 sponsors and donors 56 future programs 58 symphony hall exit plan 59 symphony hall information

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

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

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

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • 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 • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

opening night trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Kristin A. Mortimer • Sandra O. Moose • 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.

opening night trustees and overseers 5 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. The ensemble’s typically wide-ranging programs for 2017–18 are distinguished by the presence of BSO Artistic Partner Thomas Adès as pianist in January and BSO Artist-in- Residence, pianist Jean-Yves Thibaudet, in March. The ensemble’s four-concert series takes place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 15, 3pm sunday, march 11, 3pm Lowell LIEBERMANN Night Music, Op. 109, with Jean-Yves Thibaudet, piano for flute, clarinet, and piano HAYDN Trio in D for flute, cello, and piano, Kevin PUTS Seven Seascapes, for flute, horn, Hob. XV:16 viola, cello, bass, and piano BERWALD Grand Septet in B-flat, for winds André PREVIN Trio for oboe, bassoon, and strings and piano DVOŘÁK Quintet in A for piano and strings, MOZART String Quintet in G minor, K.516 Op. 81 sunday, january 21, 3pm sunday, april 22, 3pm with Thomas Adès, piano BRUCH Selection from Eight Pieces for BEETHOVEN Quintet in E-flat for piano and clarinet, viola, and piano, Op. 83 winds, Op. 16 BOULANGER Nocturne and Cortege, for cello SCHUBERT Notturno in E-flat for piano, and piano violin, and cello, D.897 MOZART String Quintet in C, K.515 LIGETI Six Bagatelles, for wind quintet JANÁČEK Concertino for piano, two violins, Please note that on the day of the concert, viola, clarinet, horn, and bassoon tickets may only be purchased at Jordan Hall.

Tickets: $38, $29, $22 Season Sponsors Call 617-266-1200 or visit bso.org. sponsor supporting sponsorlead 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 for flute, clarinet, and piano HAYDN Trio in D for flute, cello, and piano, documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned Kevin PUTS , for flute, horn, Hob. XV:16 works by Bernstein himself. viola, cello, bass, and piano BERWALD Grand Septet in B-flat, for winds André PREVIN Trio for oboe, bassoon, and strings marking the 100th anniversary of the bso’s first recordings in 1917 and piano DVOŘÁK Quintet in A for piano and strings, One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first MOZART String Quintet in G minor, K.516 Op. 81 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. BRUCH Selection from Eight Pieces for • A display on the first balcony, audience-left, documents the BSO’s first recording sessions BEETHOVEN Quintet in E-flat for piano and clarinet, viola, and piano, Op. 83 of October 2-5, 1917. winds, Op. 16 BOULANGER Nocturne and Cortege, for cello marking the 60th anniversary of the boston youth symphony SCHUBERT in E-flat for piano, and piano orchestras (byso) violin, and cello, D.897 MOZART String Quintet in C, K.515 LIGETI Six Bagatelles, for wind quintet • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO. JANÁČEK Concertino for piano, two violins, viola, clarinet, horn, and bassoon 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) Season Sponsors 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)

opening night on display 7 Marco Borggreve

Andris Nelsons

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

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

8 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

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

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

opening night andris nelsons 9 Boston Symphony Orchestra 2017–2018

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

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

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

opening night boston symphony orchestra 11

BSO Archives

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 137th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

opening night a brief history of the bso 13 revered concert halls, opened on October 15, 1900. Henschel was BSO Archives succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In BSO Archives 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

14 The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orches-

BSO Archives tra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he took up in the 2014-15 season, following a year as Rush ticket line at Symphony Hall, probably in the 1930s music director designate. In 2016-17, the British composer-conductor-pianist Thomas Adès became the BSO's first Artistic Partner, a position he will hold through the summer of 2019.

Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

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opening night a brief history of the bso 15

BSO Archives

A Brief History of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to finance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the first auditorium designed in accor- dance with scientifically-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better...because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The ecessesr of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reduc- ing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer carton” one discovers “the gift within—the lovely ornamented interior, with its

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

opening night a brief history of symphony hall 17 BSO Archives

Architect’s watercolor rendering of Symphony Hall prior to its construction

delicate play of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor andl al 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythi- cal subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the firm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. In 2015 a space in the basement was renovated as a cutting-edge control room for BSO recordings. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six-passenger elevator was installed in the Massachusetts Avenue stair- well. The Massachu setts Avenue lobby and box office were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Ger shwin, Sofia Gubaidulina, John Harbison, Walter Piston, Sergei Prokofiev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many pur- poses other than concerts, among them the First Annual Automobile Show of the Boston

18 BSO Archives

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

Auto mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s film version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demon- stration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh- sponsored fashion shows “dedicated to the working woman” (1940s), and all the inau- gurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the prosceni- um arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reflect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special cere- mony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the first steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renovations have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. The latest additions to Symphony Hall include a new, state-of-the- art recording studio and a newly constructed, state-of-the-art video control room. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

opening night a brief history of symphony hall 19 “...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. A Message from Andris Nelsons...

Very Dear Friends,

I am very excited that it is our fourth season together at Symphony Hall. Our journey of musical collaboration is so rewarding, and each year we become a stronger musical family. You are such an important part of that family, so thank you for your wonderful support. At the end of each performance when we take our bows, we see your warm and enthusiastic response, and it is very fulfilling.

There are many things we look forward to in the 2017-18 season, including the 100th-birthday celebration of the great American conductor and composer Leonard Bernstein. Also, I am happy we will continue our Shostakovich recording cycle with symphonies 4, 11, and 14. As you can imagine, it was thrilling to win Grammy Awards for the first two Shostakovich CDs, which has made us even more enthusiastic to do live recordings.

Also this season we look forward to concerts with Bernard Haitink, our beloved Conductor Emeritus, and with our Artistic Partner, Thomas Adès, who will appear both as a piano soloist and conductor. We are also very happy to welcome our new choral director, James Burton, for his first full subscription season. In addition, pianist Jean-Yves Thibaudet will be the BSO’s first-ever Artist-in-Residence at Symphony Hall.

I am looking forward to seeing you at upcoming concerts. Thank you for being here tonight, and for your great devotion to the BSO!

Warmly,

opening night a message from andris nelsons 21 D8B<PFLI

;fnecfX[k_\]i\\Xggefn Symphony Gala 2017 Friday September 22, 2017

gala chairs Lynn Dale and Frank Wisneski Barbara (Suki) and Miguel de Bragança

gala committee Alli and Bill Achtmeyer Stephen B. Kay and Lisbeth L. Tarlow Liliana and Hillel Bachrach Joyce Linde Margo and George D. Behrakis Elizabeth W. and John M. Loder Karen S. Bressler and Scott M. Epstein Nancy and Richard Lubin Gregory E. Bulger and Richard J. Dix Josh and Jessica Lutzker Katie and Paul Buttenwieser Carmine A. and Beth V. Martignetti John F. Cogan, Jr. and Mary L. Cornille Jane and Robert J. Mayer, M.D. Susan and Gerald Cohen Joseph C. McNay Roberta L. Cohn Sandra Moose and Eric Birch Cynthia and Oliver Curme Susan W. Paine Sally Currier and Saul Pannell John S. and Cynthia Reed Julie and Ronald M. Druker Arthur I. Segel Deborah and Philip Edmundson Katherine Chapman Stemberg William and Deborah Elfers Linda and Daniel Waintrup Tasneem and Zoher Ghogawala Roberta and Stephen R. Weiner Barbara and Amos Hostetter Linda M. and D. Brooks Zug

SEASON SPONSORS

lead sponsor supporting sponsor

symphony gala 2017 23 Symphony Gala 2017 Friday September 22, 2017 The Boston Symphony Orchestra recognizes with extreme gratitude the following individuals and companies for their incredible support of the Symphony Gala.

platinum benefactors $50,000 - $99,999 Alli and Bill Achtmeyer Nancy and Richard Lubin Lynn Dale and Frank Wisneski John S. and Cynthia Reed Barbara (Suki) and Miguel de Bragança Ray and Maria Stata Joyce Linde Anonymous

gold benefactors $25,000 - $49,999 Katie and Paul Buttenwieser Josh and Jessica Lutzker Paul and Sandy Edgerley Carmine A. and Beth V. Martignetti Deborah and Philip Edmundson Wendy Shattuck and Samuel Plimpton Deborah and William Elfers Anonymous Barbara and Amos Hostetter

silver benefactors $15,000 - $24,999 Margo and George D. Behrakis Elizabeth W. and John M. Loder Karen S. Bressler and Scott M. Epstein Jane and Robert J. Mayer, M.D. John F. Cogan, Jr. and Mary L. Cornille Sandra Moose and Eric Birch Roberta L. Cohn Arthur I. Segel and Patti B. Saris Cynthia and Oliver Curme Linda and Daniel Waintrup Sally Currier and Saul Pannell Roberta and Stephen R. Weiner Julie and Ronald M. Druker Family Foundation Mr. and Mrs. William E. Foley III Linda M. and D. Brooks Zug Tasneem and Zoher Ghogawala Anonymous Stephen B. Kay and Lisbeth L. Tarlow Tom Kuo and Alexandra DeLaite and Eric and Sarah Ward

$5,000 - $14,999 Nancy Adams and Scott Schoen Prof. Paul L. Joskow and Barbara and Theodore Alfond Dr. Barbara Chasen Joskow Liliana and Hillel Bachrach Lizbeth and George Krupp, in honor of Peter A. Brooke John and Cindy Reed Ronald G. Casty Charles and Elaine Mangum Arthur D. Clarke and Susan P. Sloan Jack and Elizabeth Meyer, in honor of Diddy and John Cullinane Lynn Dale and Frank Wisneski Rachel and Peter Dixon Mr. and Mrs. Joseph M. Paresky, in honor of Alan J. and Suzanne W. Dworsky Roberta and Stephen R. Weiner Fiduciary Trust Ann M. Philbin Nancy J. Fitzpatrick and Lincoln Russell Janet and Irv Plotkin Paul B. Gilbert and Patricia Romeo-Gilbert Dave and Susana Weber Albert A. Holman III and Susan P. Stickells

24 $2,500 - $4,999 Jim and Virginia Aisner Thomas and Adrienne Linnell Dianne J. and Scott W. Anderson Mrs. Betty W. Locke Gideon Argov and Alexandra Fuchs Dr. and Mrs. Abram London Marjorie Arons-Barron and James H. Barron Joseph C. McNay, Diane M. Austin and Aaron J. Nurick The New England Foundation Donald P. Barker, M.D. and Rosanne Stein Dale and Bob Mnookin Gregory E. Bulger and Richard J. Dix Kristin A. Mortimer Yi-Hsin Chang and Eliot Morgan Carol and Davis Noble, in honor of Yumin and Amy Choi Joyce Linde Barbara and Fred Clifford Joanne Zervas Sattley Mrs. Abram T. Collier Daniel Schrager and Ellen Gaies RoAnn Costin David and Marie Louise Scudder Prudence and William Crozier Nathan Somogie and Dr. William T. Curry, Jr. and Bridget O’Sullivan Somogie, in honor of Ms. Rebecca Nordhaus John and Elizabeth Loder † Nina L. and Eugene B. Doggett Campbell and Gay Steward Jerry and Joanne Dreher Theresa M. and Charles F. Stone III Peter and Joan Fink Blair Trippe Martha and Todd Golub Drs. Roger and Jillian Tung Jack Gorman Drs. Christoph and Sylvia Westphal Mrs. Winifred P. Gray Dr. and Mrs. Michael J. Yaremchuk Nancy Herndon Marillyn Zacharis Drs. James and Eleanor Herzog Anonymous

$1,250 - $2,499 Mr. Thomas F. Aaron Barbara and Robert Glauber Lloyd Axelrod, M.D. Rita J. and Stanley H. Kaplan Family Edward S. W. Boesel Foundation Susan and Paisley Boney John Sherburne Reidy Drs. Anna L. and Peter B. Davol Katherine Chapman Stemberg Happy and Bob Doran Dr. and Mrs. Nicholas T. Zervas Myrna H. Freedman

$500 - $1,249 Pat and John Deutch, in honor of Arnold Roy John and Cindy Reed Brendan and Kerry Swords Marjorie and Nicholas Greville Anonymous in-kind donors Be Our Guest High Output Boston Gourmet Martignetti Companies Commonwealth Worldwide M. Steinert & Sons Executive Transportation Nüage Designs Delta Air Lines Steinway & Sons Pianos Deutsch Family Wine & Spirits Winston Flowers Fairmont Copley Plaza

Lists as of September 11, 2017 † Deceased symphony gala 2017 25 Bernstein, Boston, and the BSO

Although Leonard Bernstein’s parents lived in Boston at the time of his birth, he was born on August 25, 1918, in Lawrence, Massachusetts, the mill town where his mother’s family lived. He was legally named Louis, but his family called him Lenny or Leonard from the beginning, and as a teenager he had his name officially changed to Leonard. Both his parents were Ukrainian Jewish immigrants who arrived through Ellis Island, his mother Jennie at age seven and his father Samuel, who settled in New York City, at sixteen. Samuel made his way to Boston in the 1910s for work and by the 1920s had established his own thriving business. The family moved frequently, living in a number of Boston neighborhoods—Mattapan, Allston, and several Rox- bury addresses—as well as Revere and ultimately Newton. While in Boston the family attended temple at Mishkan Tefila, then located in an impressively stately building on Seaver Street across from Franklin Park. In the 1930s, the family acquired a lakeside summer cottage in Sharon. (Their relative affluence in the time of the Depression was testament to the success of Leonard Bernstein with parents, Samuel Samuel’s beauty products business.) and Jennie, and sister, Shirley, c.1935 (Leonard Bernstein Collection, Library The oldest of three children, Leonard Bernstein attended ele- of Congress, Music Division) mentary school at the Garrison School near Franklin Park, was accepted to the merit-based Boston Latin School (about a mile from Symphony Hall on Avenue Louis Pasteur), and attended Harvard University in Cambridge. He loved music from childhood and benefited when his father’s sister moved to New York City, leaving her piano with the family when Leonard was ten. His father was willing for him to have

First known photograph of Bernstein as a conductor, summer 1937, when he was a camp counselor at Camp Onata, near Pittsfield, MA (Leonard Bernstein Collection, Library of Congress, Music Division)

26 piano lessons but balked at encouraging a music career once things turned serious. Part of Bernstein’s practical education came from earning money for his own lessons by teaching younger kids and playing jazz and popular music at wed- dings. In Sharon his ambitions extended to producing and performing versions of Carmen, The Mikado, and H.M.S. Pinafore for fun. It was by these paths he developed the multifaceted practical skills and stylistic breadth that would later define his career. He first attended concerts at Symphony Hall in the early 1930s; among the earliest of these were a Boston Pops concert led by Arthur Fiedler and a solo recital by Rachmaninoff. By 1933 he had a subscription to the BSO season.

In spite of his father’s objections, at Harvard Bernstein majored in music, studying piano with Heinrich Gebhard and working with the composers Walter Piston and Edward Burlingame Hill. He graduated Harvard graduation portrait, 1939 in 1939 and was admitted to the Curtis Institute of Music in Phila- (William Filene’s Sons Company, Boston/Leonard Bernstein delphia, where he remained for two more years. It was during his Collection, Library of Congress, Harvard years, in 1937, that he first met Aaron Copland, whose Piano Music Division) Variations had become a staple of Bernstein’s performing repertoire. Copland at age thirty-seven was among America’s leading concert composers, and his friendship and advice had a stupendous impact on Bernstein’s career. It was in part through his encouragement that the younger composer, whose ambitions had lately begun to include conducting, joined the first class of the Berkshire Music Center (now the Tanglewood Music Center) in 1940, where he would study conducting with the school’s founder, BSO conductor Serge Koussevitzky, as well as composition with Cop- land himself. His first performance conducting a professional orchestra came on July 11, 1941, when, as a winner of a Boston Herald musical quiz, and without rehearsal, he led the Boston Pops Orchestra on the Esplanade in Wagner’s Meistersinger Overture. The prize was originally to have been a week-long residency at Tanglewood, but since Bernstein was already a student of Kousse- vitzky, the conducting opportunity was awarded as an extra. The eighteen-year-old Leonard Bernstein at the piano, 1936 (Leonard Bernstein Collection, Library of Congress, Music In the following decade, Kousse- Division) vitzky, as he had done for Copland earlier, provided Bernstein with a variety of opportunities to exhibit his many talents. Koussevitzky and the BSO gave performances of the

opening night 27

composer’s Symphony No. 1, Jeremiah (a product of his early twenties), and commissioned and premiered his Symphony No. 2, The Age of Anxiety, with the composer as piano soloist. Bernstein was also called upon to lead the American premiere performances of Benjamin Britten’s opera Peter Grimes with the Berkshire Music Center in 1946 and the world premiere of Olivier Messiaen’s Turangalîla-Symphonie with the BSO in 1949. Although Bernstein’s Broadway and conducting activities shifted his geographical center to New York City, he remained closely tied to the Boston Symphony Orchestra and especially to Tanglewood for the rest of his life. His Symphony No. 3, Kaddish, was a BSO An early publicity photograph 75th-anniversary com- of Bernstein, c.1943 (Heinz H. mission. Fifty years Weissenstein, Whitestone Photo) after his first summer at Tanglewood, he led his final concert there on August 19, 1990, conducting the BSO. On August 14 he had conducted the Tanglewood Music Center Orchestra, which he was sched- uled to take on a European tour that fall, but he fell ill, canceling the tour, and died that Octo- ber 14 in New York.

Robert Kirzinger Leonard Bernstein and Serge Koussevitzky at Tanglewood, c.1946 (Heinz H. Weissenstein, Composer/annotator robert kirzinger is Whitestone Photo) Associate Director of Program Publications of the Boston Symphony Orchestra.

Leonard Bernstein conducting from the piano in a rehearsal with the BSO, c.1951 (Howard S. Babbitt, Jr.)

opening night 29 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

Friday, September 22, 6pm | opening night at symphony

andris nelsons conducting elizabeth rowe, flute frederica von stade, mezzo-soprano and host julia bullock, soprano members of the tanglewood festival chorus, james burton, conductor

all-bernstein program celebrating leonard bernstein

divertimento for orchestra (1980) I. Sennets and Tuckets II. Waltz III. Mazurka IV. Samba V. Turkey Trot VI. Sphinxes VII. Blues VIII. In Memoriam; March: “The BSO Forever”

“halil,” nocturne for solo flute with piccolo, alto˙ flute, percussion, harp, and strings (1981) elizabeth rowe, flute

a julia de burgos, from “songfest” (1977) Text by Julia de Burgos (1914-1953) Text and translation are on page 36. “piccola serenata,” arranged for chamber orchestra by sid ramin (1979) a little bit in love, from “wonderful town” (1953) Lyrics by Betty Comden and Adolph Green julia bullock, soprano

30 i am easily assimilated (old lady’s tango), from “candide” (1958) Lyrics by Leonard and Felicia Bernstein frederica von stade, mezzo-soprano members of the tanglewood festival chorus

it must be so, from “candide” ms. bullock

neverland, from “peter pan” (1950) Lyrics by Leonard Bernstein Text is on page 39. ms. bullock and ms. von stade

symphonic dances from “west side story” (1960) Prologue (Allegro moderato)—“Somewhere” (Adagio)—Scherzo (Vivace e leggiero)—Mambo (Meno presto)—Cha-Cha (Andantino con grazia)—Meeting Scene (Meno mosso)—“Cool,” Fugue (Allegretto)—Rumble (Molto allegro)—Finale (Adagio)

Please note that there is no intermission in this concert.

this evening’s performances by the guest artists and the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

Tonight’s concert will end about 7:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. 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.

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Leonard Bernstein Divertimento for Orchestra “Halil,” for flute and orchestra ˙ Vocal Selections Symphonic Dances from “West Side Story”

The Boston Symphony Orchestra’s Opening Night concert this year celebrates the legacy of Leonard Bernstein, one of the great American musicians of all time. The BSO, Tanglewood, and musicians around the world will celebrate the Bernstein centennial in 2018. Bernstein was closely associated with the BSO and especially with its summer home, Tanglewood, throughout his career. Beyond the BSO’s performances of his symphonies 2 (The Age of Anxiety) and 3 (Kaddish) at Symphony Hall in March 2018, plans are underway for a season-long celebration of Bernstein’s life at Tanglewood next summer.

Conductor, pianist, composer, educator, and all-around musical personality, Bernstein was the epitome of the versatile musician. As a composer he embraced styles from the vernacular to the learned in a mix that never failed to communicate directly with audiences. One of our greatest Broadway composers, he also wrote three major, serious-minded symphonies and had an abiding love for the musical lineages of Bach, Mozart, and Beethoven, whose influences emerged constantly in his own music.

Bernstein’s Divertimento for Orchestra typifies the composer’s exuberant, multi-faceted approach. The title of the piece deliberately recalls the multi-movement genre of the Classical period, designed primarily for entertainment. The piece was commissioned by the BSO for its centennial season and was originally to have been just a short orchestral fanfare, but finding himself with extra composing time on his hands after another project fell through, the composer expanded it to a suite of eight contrasting movements. The piece also resembles a concerto for orchestra in that it highlights particular instrumental sections, Bernstein’s tribute to the BSO’s players: the score is “Dedicated with affection to the Boston Symphony Orchestra in celebration of its First Centenary.” Seiji Ozawa led the premiere performance on September 24, 1980. Harmonically the piece is centered on two notes, B and C—B for “Boston” and C for “Centennial.” The diverse movements are each only a couple of minutes long and, like Baroque and Classical suites, encompass a string of dance types. The brassy opening Sennets and Tuckets—a

opening night program notes 33 Leonard Bernstein’s Program Note on “Halil” ˙ This work is dedicated “To the Spirit of Yadin and to his Fallen Brothers.” The reference is to Yadin Tanenbaum [sic], a nineteen-year-old Israeli flutist who, in 1973, at the height of his musical powers, was killed in his tank in the Sinai. He would have been twenty-seven years old at the time this piece was written [in 1981].

Halil (the Hebrew word for “flute”) is formally unlike any other work I have written, but ˙ is like much of my music in its struggle between tonal and non-tonal forces. In this case, I sense that struggle as involving wars and the threat of wars, the overwhelming desire to live, and the consolations of art, love, and the hope for peace. It is a kind of night-music which, from its opening twelve-tone row to its ambiguously diatonic final cadence, is an ongoing conflict of nocturnal images: wish-dreams, nightmares, repose, sleeplessness, night-terrors and sleep itself, Death’s twin brother.

I never knew Yadin Tanenbaum, but I know his spirit.

Yadin Tenenbaum

Born in 1954, Yadin Tenenbaum began studying the flute at the age of eleven, with Uri Toeplitz, principal flute of the Israel Philharmonic. He was awarded several Sharett Scholarships of the America-Israel Cultural Foundation and twice won prizes in competitions at the Israel Conservatory of Music. When he enlisted, he turned down a position with the IDF Orchestra (Israel Defense Forces Orchestra), opting instead for combat duty, and was assigned to the armored corps. When the Yom Kippur War broke out in October 1973, he was serving in a tank at the banks of the Suez Canal. His tank got stuck in the mud, and its chains broke just as the Egyptian forces began to cross the canal, but the crew decided to continue fighting from the turret. Yadin, the tank’s gunner, managed to destroy an Egyptian tank and a bulldozer. In the skirmish that ensued between Yadin’s crew and the invading Egyptian forces, the tank suffered a direct hit and Sergeant Tenenbaum was killed. He was post- humously awarded the Distinguished Service Medal.

Photos courtesy Ella Tenenbaum-Koren

34 Shakespearean designation for “fanfares”—is reminiscent of Candide and Stravinsky. The second movement is a gentle songlike Waltz, for strings only and in the unusual time signature of 7/8 (a nod to the 5/8 waltz of Tchaikovsky’s Symphony No. 5). The some- what lugubrious third-movement Mazurka (a Polish dance favored by Chopin) is for wood- winds and harp; the fourth, Samba, naturally features percussion among the textures of

Music Director Charles Munch and Leonard Bernstein on the full orchestra's rapidly changing palette January 31, 1964, prior to the BSO’s U.S. premiere of the of colors. Turkey Trot, named for an early latter’s Symphony No. 3, “Kaddish,” a BSO 75th-anniversary 1900s ragtime dance, alternates four-beat commission (Boris and Milton) and syncopated three-beat measures. The brief Sphinxes is in two rising phrases, strings followed by answering winds; this serves as introduction to the low-down energy of the seventh movement, Blues. The finale is In Memoriam; March: “The BSO Forever,” which in part commemorates past members of the orchestra, notably in the mysterious introductory measures. The concluding march is upbeat but charmingly off-kilter.

Bernstein wrote Halil in 1981 and led soloist Jean-Pierre Rampal in its premiere with ˙ the Israel Philharmonic on May 27 of that year. He led the Boston Symphony Orchestra in the American premiere a few weeks later, on July 4, 1981, at Tanglewood, with BSO principal flute Doriot Anthony Dwyer as soloist. The piece was inspired by a promising young Israeli flutist, Yadin Tenenbaum, who was killed in the 1973 Arab-Israeli War. The title is Hebrew for “flute,” and the single-movement piece is in effect a flute concerto, albeit a mostly understated one. Bernstein also referred to it as a nocturne, and dark instrumental colors—alto flute, viola, marimba—are significant orchestral partners to the soloist. The moods are varied but the baseline is lyricism, with outbursts in percussion and the full orchestra goading the flute into reaction. A big solo flute cadenza, shaded by timpani, dominates the middle of the piece, after which the soloist’s doppel- ganger, the orchestral alto flute, plays a duet with a solo viola. The piece ends gently, with hope. For more on Halil and Yadin Tenenbaum, see page 34. ˙ Elements of song—straightforward melodic contour, short phrases, and constrained rhythm—are present in both Halil and Divertimento; in fact, Bernstein’s entire output ˙ returns again and again to song as a wellspring of his creativity. Many of his Broadway songs have become as familiar as those of Gershwin, Rodgers and Hart, or Cole Porter. The tritone-semitone rise that opens “Maria” from West Side Story and the syncopated rhythm of “New York, New York” from On the Town are both incredibly catchy and immediately recognizable. Bernstein’s standalone songs and song cycles for concert performance have the same naturalness and flair.

“A Julia de Burgos” is from his largest song cycle, Songfest, a twelve-song collection for six voices and orchestra, setting thirteen American poems by authors ranging from

opening night program notes 35 “A Julia de Burgos” (“To Julia de Burgos”) Julia de Burgos (from her poem “A Julia de Burgos”)

Ya las gentes murmuran que yo The talk’s around that I wish you ill soy tu enemiga porque dicen que en verso doy because, they say, through verse I give al mundo mi yo. the world your I. Mienten, Julia de Burgos. Mienten, They lie, Julia de Burgos. They lie, Julia de Burgos. Julia de Burgos. La que se alza en mis versos no What rises from my lines is es tu voz: es mi voz not your voice; it’s my voice. porque tú eres ropaje y la esencia For you are but drapery; the essence is I, soy yo; y el más profundo abismo se tiende entre And between those two the deepest las dos. chasm lies. Tú eres fria muñeca de mentira social, You are the frosty doll of social deceit, y yo, viril destello de la humana verdad. and I, a virile flash of human truth.

Tú, miel de cortesana hipocresías; yo no; You are the syrup of genteel hypocrisy; not me. que en todos mis poemas desnudo In every poem I strip my heart bare. el corazón. Tú eres como tu mundo, egoísta; You are selfish, like your universe; not me. yo no; que en todo me lo juego I gamble it all to be exactly as I am. a ser lo que soy yo. Tú eres sólo la grave señora señorona; You are that oh so lofty lady of consequence; yo no, not me. yo soy la vida, la fuerza, la mujer. I am the life, the power, the woman. Tú eres de tu marido, de tu amo; yo no; You are the property of your spouse, your boss; not me. yo de nadie, o de todos, I’m no one’s, or everyone’s for to porque a todos, a every single one todos en mi limpio sentir y en through my cleansed senses, mi pensar me doy. through my thoughts I offer myself. Tú te rizas el pelo y te pintas; yo no; You curl your hair and paint your face; not me. a mí me riza el viento, a mí me. I get the wind to curl me, the sun to pinta el sol paint me. Tú eres dama casera, resignada, sumisa, Housebound lady, you are resigned, compliant, atada a los prejuicios de los hombres; bound to the bigotries of men; yo no; not me. que yo soy Rocinante corriendo For I am runaway Rocinante, desbocado unbridled, olfateando horizontes de justicia de Dios. sniffing out horizons of God’s retribution.

Trans. JAMIE BERNSTEIN

36 Anne Bradstreet to Gregory Corso. In “To Julia de Burgos,” the only Spanish poem of the cycle, the important Puerto Rican poet Julia de Burgos (1914-1953) has an intense discussion with herself contrasting the cares of the private individual woman against those of her artistic, political self.

The Piccola serenata (“Little serenade”)—orchestrated by Bernstein’s friend from ado- lescence, Sid Ramin—was composed as an 85th-birthday present for the conductor Karl Böhm. The voice part uses word-like nonsense sounds of Bernstein’s devising.

The 1953 musical Wonderful Town was based ultimately on a series of New Yorker articles about small-town midwestern girls trying to make it in New York City; a 1942 film version called My Sister Eileen starred Rosalind Russell, who reprised her role in the original musical. The lyrics were by Comden and Green. “A little bit in love” is sung by Eileen’s sister Ruth—Russell’s character—about her slight infatuation with Frank, the manager of Leonard Bernstein and Seiji Ozawa following the world the Walgreen’s where Ruth has been filling premiere of Bernstein’s Divertimento for Orchestra, her empty belly with free food samples. September 25, 1980 (Peter Schaaf) Candide, based on Voltaire’s satirical 1759 fable, was originally a collaboration between Bernstein and the playwright Lillian Hellman, with song lyrics mostly by the eminent poet Richard Wilbur. The hapless title character is educated to believe that all the misfortunes that beset him and his fiancée Cunegonde, including war, slavery, and the 1755 Lisbon earthquake, were necessary aspects of an idealized world. “I am easily assimilated” is a tango sung by their companion, the Old Lady, in Cadiz when they find that Cune- gonde’s jewels have been stolen and they have no money for a meal. In “It must be so,” Candide wonderingly rationalizes his tutor’s “best of all possible worlds” philosophy.

The last of the songs on this program is from Bernstein’s little-known musical Peter Pan, based on J.M. Barrie’s book Peter and Wendy. The composer himself wrote the lyrics; Jean Arthur played Peter, and Boris Karloff was Captain Hook. For its original run from April 1950 through the following January, the production’s musical content was radical- ly cut, after which the full version wasn’t reassembled and staged until 2000. “Never- land” is the idyllic song the Mermaids are singing as Wendy and Peter and the children arrive after their long journey.

The idea of an urban musical based on Romeo and Juliet, and originally to have featured an Irish Catholic boy and a Jewish girl, was initially proposed to Bernstein in 1947 by Jerome Robbins. It didn’t get off the ground right away, but when revisited in 1955 it was transformed to New York City and feuding white and Puerto Rican street gangs and became West Side Story. Arthur Laurents wrote the musical’s book, Bernstein the

opening night program notes 37 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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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. music, Stephen Sondheim the lyrics, and Robbins created the choreography. The show debuted in 1957 and ran for more than 700 performances on Broadway, winning six Tony Awards. It was later made into a classic film musical co-directed by Robert Wise and Jerome Robbins. In 1960 Bernstein made an orchestral suite of nine of its numbers, Symphonic Dances from “West Side Story,” first performed on February 13, 1961, by the New York Philharmonic with his friend Lukas Foss conducting. At just over twenty minutes, the suite covers most of the familiar music of the show, reordered to Leonard Bernstein conducting at Tanglewood, c.1988 achieve a satisfying musi- (Walter H. Scott) cal narrative for concert performance. The tense, high-energy Introduction, Mambo, “Cool” Fugue and “Rumble” contrast with the more lyrical, song-based dances. The second section is based on “Somewhere,” a place of imagined peace and tranquility; the Scherzo that follows takes us out of the urban setting. The fifth dance, “Cha-Cha,” is an elegant, charming reminder of the song “Maria.” The finale is a beautiful elegy.

Robert Kirzinger

“Neverland,” from the musical “Peter Pan” Lyrics by Leonard Bernstein

This has been a lovely day of sun and sand in Neverland. Eighteen hours of lazy hazy sleight of hand In Neverland. Troubles don’t exist, No one is a pessimist, Ev’ryone’s exactly what he wants to be. Here it never rains. Here no one complains of pains. Childish hearts rejoicing in their fantasy. Lovely lazy day of sea and sun and sand For ever and ever and ever in Neverland.

opening night program notes 39 To Read and Hear More...

Humphrey Burton’s Leonard Bernstein is a particularly insightful and well-balanced biography of the composer (Anchor paperback); Burton knew Bernstein well, having worked with him as a television and video producer for some twenty years. Composer and writer Allen Shawn’s smaller, more recent biography, Leonard Bernstein: An American Musician, was published in 2014 (Yale University Press paperback, part of the “Jewish Lives” series). Harvard University professor Carol Oja’s Bernstein Meets Broadway: Collaborative Art in a Time of War considers Bernstein’s most populist work in light of his collaborative predilections and political leanings (Oxford University paperback). Paul Myers’s Leonard Bernstein, published in 1998, is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). Leonard Bernstein: An American Original, published in 2008, is a collection of essays assembled by the composer’s brother Burton Bernstein and New York Philharmonic archivist Barbara Haws; following an introduction by Haws, the col-

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40 lection includes contributions by Burton Bernstein, Alan Rich, Tim Page, Joseph Horowitz, Paul Boyer, James M. Keller, Carol J. Oja, Bill McGlaughlin, and composer John Adams (Harper). Among Bernstein’s own writings and collected conversations about music are an edition of his correspondence, The Leonard Bernstein Letters, edited by Nigel Simeone (Yale University paperback); The Joy of Music (Amadeus Press paperback); the more personal Findings (Anchor paperback), and his six Charles Eliot Norton Lectures, given at Harvard in 1973 under the collective title The Unanswered Question (Harvard University Press).

The Boston Pops Orchestra recorded Bernstein’s Divertimento for Orchestra in 1981 under John Williams’s direction for the all-Bernstein CD “Bernstein by Boston” (Philips). The Boston Symphony Orchestra and Seiji Ozawa recorded his Serenade (after Plato’s Symposium) for violin and orchestra with Itzhak Perlman (Warner Classics). A live broadcast recording by the BSO from April 9, 1949—the day following the world premiere—of Bernstein’s Symphony No. 2, Age of Anxiety, featuring the composer as pianist and led by Serge Koussevitzky, is included in the BSO’s twelve-disc “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000.” Bernstein’s many recordings—of his own and of others’ music—have been released individually and in a dizzying, ever-changing parade of collections, mostly by Deutsche Grammophon and Sony (which now owns the New York Philharmonic recordings released originally on Columbia), Columbia and DG having been the two major labels he was associated with over the course of his career. Both labels have released multi-dozen disc sets of recordings from his catalog. If you can find it, the smaller “Bernstein Conducts Bernstein” CD box set issued by Deutsche Grammophon includes most of the composer’s major concert works, including the Divertimento for Orchestra, the Symphonic Dances from West Side Story, Halil for flute and orchestra, and the completeSongfest , along with all ˙ three symphonies, Prelude, Fugue, and Riffs, and many other pieces, in performances by the composer with the Israel, Los Angeles, and New York philhamonics and the National Symphony Orchestra. Sony’s seven-disc set covering much of the same ground in earlier recordings features the New York Philharmonic almost exclusively. Other champions of his work include Michael Tilson Thomas, Marin Alsop, and Leonard Slatkin. Bernstein as teacher and television personality is amply documented in the DVD collections “Leonard Bernstein: Omnibus–The Historic TV Broadcasts” (Koch, four discs); “Leonard Bernstein’s Young People’s Concerts, Vol. I” (Kultur, nine discs encompassing twenty- five programs preserved between 1958 and 1973), and “Leonard Bernstein: The Unan- swered Question” (Kultur, six discs preserving versions of his 1973 Charles Eliot Norton Lectures as videotaped for television the night after each was originally delivered).

Robert Kirzinger

opening night read and hear more 41 Guest Artists

Elizabeth Rowe

BSO principal flutist Elizabeth Rowe joined the Boston Symphony Orchestra in 2004 and holds the Walter Piston Principal Flute Chair. Prior to joining the BSO, Ms. Rowe held titled positions with the orchestras of Fort Wayne, Baltimore, and Washington, D.C. Regularly featured in front of the orchestra, she has been soloist with the BSO in Elliott Carter’s Flute Concerto (including its American premiere performances under James Levine in February 2010, followed by later performances in Boston and San Francisco); the Ligeti Double Concerto for flute and oboe with Christoph von Dohnányi conducting and BSO principal oboe John Ferrillo; Gabriela Lena Frank’s Illapa, Tone Poem for Flute and Orchestra, under the direction of Miguel Harth-Bedoya; Mozart’s G major flute concerto, K.313, with which she made her first BSO appearance as a concerto soloist in August 2008, under André Previn’s direction at Tanglewood; Frank Martin’s Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings in October 2012; Bach’s Brandenburg Concertos Nos. 5 and 2 at Tanglewood in 2012 and 2013, respectively; and, most recently, in January 2016 under François-Xavier Roth and at Tanglewood that August under Ken-David Masur, Mozart’s C major concerto for flute and harp with BSO principal harp- ist Jessica Zhou. Ms. Rowe and Ms. Zhou will perform that concerto again in Tokyo this November with Andris Nelsons conducting, during the BSO’s Japanese tour. Noted for her insightful teaching, Ms. Rowe attracts flute students from around the country to her lessons and master classes. She works regularly with students at the New England Conser- vatory and the Tanglewood Music Center and is a frequent guest artist at the New World Symphony. She previously taught at the Peabody Conservatory of Music and University of

42 Maryland. A member of the Boston Symphony Chamber Players, she can be heard in a wide variety of chamber works throughout the season at NEC’s Jordan Hall and in several recordings. Elizabeth Rowe grew up in Eugene, Oregon. She received her bachelor of music degree from the University of Southern California, where she was a Trustee Scholar and a student of Jim Walker, former principal flute of the Los Angeles Philharmonic. Ms. Rowe’s connection to the Boston Symphony Orchestra dates back to the summer of 1996, when she was a Tanglewood Music Center Fellow and performed as principal flute under Seiji Ozawa’s direction in the TMC production of Benjamin Britten’s Peter Grimes that marked the 50th anniversary of the opera’s 1946 American premiere at Tanglewood.

Frederica von Stade

Known to family, friends, and fans by her nickname “Flicka,” mezzo-soprano Frederica von Stade has enriched the world of classical music for more than four decades, appear- ing in the world’s great opera houses and concert halls. Since receiving a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and her 1970 Met debut, she has sung nearly all of her great roles there. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her; in 1995, as a celebration of her 25th anniversary, the Met created for her a new production of Pelléas et Mélisande. Ms. von Stade has appeared with every leading Amer- ican opera company; in Europe at La Scala, Covent Garden, the Vienna State Opera, and the Paris Opera; and with the world’s most esteemed conductors and orchestras. She is acclaimed for such diverse roles as the bel canto heroines of Rossini and Bellini, the French roles of Mignon, Périchole, Marguerite, and Mélisande; and the trouser roles of Strauss and Mozart. Her artistry has inspired revivals of neglected works, and she has also taken roles in operetta and musical theater, including the title role in The Merry Widow and Desirée Armfeldt in A Little Night Music. Although retired from full-time performing, she continues to make appearances across the United States, including, in 2016-17, the New York premiere of the cantata Street Requiem composed by Kathleen McGuire, Andy Payne, and Jonathon Welch; her Arizona Opera debut in the company's 45th-anniversary

opening night guest artists 43 Sapphire Celebration; a gala benefit concert with Sarasota Ballet in Florida; Jake Heggie’s Three Decembers (based on the Terrence McNally play) with Hawaii Opera Theater, and a master class at the Peabody Conservatory. She has created roles in many new operatic works: Tina in Dallas Opera’s world premiere production of Dominick Argento’s The Aspern Papers (a work written for her), Madame de Merteuil in Conrad Susa’s Danger- ous Liaisons, Mrs. Patrick De Rocher in Heggie’s Dead Man Walking, Myrtle Bledsoe in the world premiere of Ricky Ian Gordon’s A Coffin in Egypt at Houston Grand Opera, and Mrs. Edward “Winnie” Flato in the world premiere of Heggie and McNally’s Great Scott directed by Jack O’Brien, with performances at Dallas Opera and San Diego Opera. On the concert stage she has garnered acclaim for Ravel’s Shéhérazade (which she recorded with Seiji Ozawa and the BSO for CBS/Sony Classical in 1979), Berlioz’s Les Nuits d’été, and Canteloube’s Les Chants d’Auvergne; the orchestrated songs of Debussy and Duparc; symphonic works of the great Austrian and German composers, and new American works. She collaborated with Richard Danielpour on the orchestral song cycle Elegies, a tribute to Ms. von Stade’s father, Charles von Stade, who was killed in the final days of World War II. The text is based on letters Mr. von Stade sent to his wife during the war—letters through which Frederica von Stade came to know her father, who died two months before her birth. Since its January 1998 premiere with the Jacksonville Symphony, Elegies has been recorded for Sony Classical and performed throughout North America and Europe. In recital, Ms. von Stade’s repertoire ranges from Mozart and Haydn to Broadway and such contemporary composers as Argento and Heggie. Her seventy-plus recordings have earned numerous awards and include complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. She appears regularly on television, in numerous PBS and other broadcasts. Ms. von Stade holds honorary doctorates from Yale University, Boston University, the San Francisco Conservatory of Music (which maintains a Frederica von Stade Distinguished Chair in Voice), the Georgetown Univer- sity School of Medicine, and her alma mater, the Mannes School of Music. In 1998 she was appointed an officer of l’Ordre des Arts et des Lettres; in 1983 she was honored by

44 President Reagan for her significant contribution to the arts. Frederica von Stade made her BSO debut in October 1977 in Boston and at Carnegie Hall, as Béatrice in concert performances of Berlioz’s Béatrice et Bénédict led by Seiji Ozawa. Her first Tanglewood performance with the BSO was in August 1984, as Béatrice in a concert staging of the same opera. Besides her many Symphony Hall and Tanglewood appearances with the orchestra (including two previous Opening Night concerts at Symphony Hall), she has appeared with the BSO on four occasions at Carnegie Hall, as well as on tour in Salzburg and Prague. Her most recent BSO appearance was at Tanglewood in August 2014, as the Old Lady in a concert performance led by Bramwell Tovey of Bernstein’s Candide.

Julia Bullock

Making her Boston Symphony Orchestra debut this evening, soprano Julia Bullock has captivated audiences in both opera and concert repertoire. The 2017-18 season also brings her San Francisco Opera debut in the world premiere of Girls of the Golden West, composed by John Adams to a libretto by Peter Sellars. She joins Dutch National Opera in a company premiere of Simon McBurney’s production of The Rake’s Progress led by Ivor Bolton, makes her Santa Fe Opera debut as Kitty Oppenheimer in a new Sellars production of Adams’s Doctor Atomic, sings Pamina in concert performances of Die Zauberflöte with Gustavo Dudamel and the Los Angeles Philharmonic, and tours North America in recital from Boston to California. Highlights of the past season include Gershwin’s Porgy and Bess with David Robertson and the Sydney Symphony, Villa-Lobos’s Bachianas bra- sileiras No. 5 with Marin Alsop and the Baltimore Symphony Orchestra, Adams’s El Niño with Grant Gershon and the Los Angeles Philharmonic, and Adams’s Doctor Atomic with the composer conducting the BBC Symphony Orchestra in concert performances recorded for future commercial release. At Festival d’Aix-en-Provence she was Anne Trulove in The Rake’s Progress as staged by Simon McBurney and conducted by Eivind Gullberg Jensen. At the 2016 Ojai Music Festival, in collaboration with Roomful of Teeth and the International Contemporary Ensemble, she sang Kaija Saariaho’s La Passion de Simone in a new Peter Sellars staging; she also sang the world premiere of Josephine Baker: A Portrait,

opening night guest artists 45 composed and arranged by Tyshawn Sorey with accompanying poetry by Claudia Ran- kine. Other recent highlights include debuts with the Berlin Philharmonic in La Passion de Simone and with the London Symphony Orchestra in Delage’s Quatre Poèmes hindous led by Sir Simon Rattle; Barber’s Knoxville: Summer of 1915 with the Orchestra of St. Luke’s at Lincoln Center; Falla and Ravel with the New World Symphony Orchestra, and solo recit- als throughout North America. The music of Leonard Bernstein served for Julia Bullock’s debuts both with Alan Gilbert and the New York Philharmonic and with Michael Tilson Thomas and the San Francisco Symphony. She sang the title role of Purcell’s The Indian Queen at the Perm Opera House, the Bolshoi, and Teatro Real with Teodor Currentzis, and at English National Opera led by Laurence Cummings; the Peter Sellars production was recorded and released on Sony Classical DVD. Ms. Bullock’s operatic repertoire also includes Le nozze di Figaro, The Medium, Cendrillon, The Cunning Little Vixen, and L’Enfant et les sortilèges. She holds degrees from the Eastman School of Music and Bard College and an Artist Diploma from the Juilliard School. Accolades include the 2016 Sphinx Medal of Excellence, a 2015 Leonore Annenberg Arts Fellowship, the 2015 Richard F. Gold Grant from the Shoshana Foundation, Lincoln Center’s 2015 Martin E. Segal Award, and first prize at both the 2014 Naumburg International Vocal Competition and the 2012 Young Concert Artists International Auditions.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

Originally formed under the joint sponsorship of Boston University and the Boston Sym- phony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season; he now holds the lifetime title Founder and Conductor Laureate, and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the new position of BSO Choral Director, occupying the Alan J. and Suzanne W. Dworsky Chair. Though first established for performances at the BSO’s summer home, the Tangle- wood Festival Chorus was soon playing a major role in the BSO’s subscription season and performances at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC has made dozens of recordings with the BSO and Boston Pops, with conductors James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard

46 Bernstein, Keith Lockhart, and John Williams. The ensemble has also had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massa- chusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood.

Members of the Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

(Opening Night All-Bernstein Concert, September 22, 2017: “I am easily assimilated” from Candide)

sopranos

Michele Bergonzi • Anna S. Choi • Diana Gamet • Dana R. Sullivan • Sarah Telford • Sarah Wesley • Lauren Woo

mezzo-sopranos

Susan L. Kendall • Nora Kory • Gale Tolman Livingston • Kendra Nutting • Lelia Tenreyro-Viana • Christina Wallace Cooper • Karen Thomas Wilcox

tenors

Chad D. Chaffee • Stephen Chrzan • J. Stephen Groff • Keith Erskine • Henry Lussier • Daniel Mahoney* • Francis Rogers* basses

Eric Chan • James W. Courtemanche • Michel Epsztein • Bruce Kozuma • Greg Mancusi-Ungaro • Kenneth D. Silber

* featured soloists (the “2 Señores”)

Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager Ian Watson, Rehearsal Pianist

opening night guest artists 47 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • 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 • 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 • Cecile Higginson Murphy • 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)

48 one million

Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • 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 • 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 opening night the great benefactors 49 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. 50 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- Director of Sales- chusetts and beyond with each passing season. As the BSO continues to New England help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

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

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

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

opening night bso major corporate sponsors 51 Administration

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

administrative staff/artistic

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

administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Management Assistant • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer

boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

business office

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

52 development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • 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, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement

Claire Carr, Associate Director of Education and Community Engagement • Elizabeth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

opening night administration 53 information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist

public relations

Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations

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

sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Senior Director of Marketing and Branding • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, 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 • 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 • Thomas Vigna, Group Sales and Marketing Associate • 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

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

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

boston symphony orchestra bso 101 A FREE ADULT EDUCATION SERIES BSO 101: Are You Listening? Each BSO 101 session is followed by a free tour Increase your enjoyment of BSO concerts. of Symphony Hall. Though admission is free, we These five sessions at Symphony Hall from request that you make a reservation to secure 5:30–7pm with BSO Director of Program your place. Group rates (20 or more people) Publications Marc Mandel joined by members apply; call 617-638-9345 for details. of the BSO are designed to enhance your Tuesday, October 4: Surveying the Season listening abilities and appreciation of music Wednesday, November 2: Johannes Brahms– by focusing on upcoming BSO repertoire, Rethinking Tradition examining and illuminating aspects of musical shape and form, and of the Wednesday, February 15: Sibelius & Par Excellence composers’ individual musical styles. Shostakovich–Individualists Wednesday, March 15: Berlioz & Dutilleux– Please RSVP online or by calling 617-266-1200. Journeys in Sound Wednesday, April 12: Mozart & Mahler– bso.org/bso101 Speaking to the Heart

opening night administration 55 Next Program…

Saturday, September 23, 8pm Tuesday, September 26, 8pm

andris nelsons conducting

haydn symphony no. 103 in e-flat, “drumroll” Adagio—Allegro con spirito Andante più tosto Allegretto Menuet; Trio Allegro con spirito

{intermission}

mahler symphony no. 1 in d Langsam. Schleppend [Slow. Dragging] Kräftig bewegt, doch nicht zu schnell; [With powerful motion, but not too fast] Trio: Recht gemächlich [Pretty easygoing] Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] Stürmisch bewegt [With tempestuous motion]

Franz Joseph Haydn and Gustav Mahler defined the genre of the symphony during their respec- tive eras—Haydn as one of its originators in the late-18th-century Classical era, and Mahler as revitalizer and innovator at the end of the Romantic era. Haydn’s Drumroll Symphony—not performed by the BSO since 1995—was the next-to-last symphony he wrote, and the fifth of six he composed for the second of his two wildly successful trips to London in the first half of the 1790s. Its nickname comes from its opening solo timpani roll. Written nearly 100 years later, the first of Mahler’s nine symphonies employs folk-music references and a convention- al four-movement form that have their foundations in Haydn’s time. Its expanded scope and instrumentation are evidence of the genre’s 19th-century transformation as well as Mahler’s own stretching of the form.

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.

56 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.

Saturday ‘A’ September 23, 8-10 Sunday, October 15, 3pm Tuesday ‘B’ September 26, 8-10 Jordan Hall, New England Conservatory ANDRIS NELSONS, conductor BOSTON SYMPHONY CHAMBER PLAYERS HAYDN Symphony No. 103, Drumroll LOWELL Night Music, Op. 109, for flute, MAHLER Symphony No. 1 LIEBERMANN clarinet, and piano KEVIN PUTS Seven Seascapes, for flute, horn, viola, cello, bass, and piano Thursday ‘A’ September 28, 8-10:10 ANDRÉ PREVIN Trio for oboe, bassoon, and Friday ‘A’ September 29, 1:30-3:40 piano Saturday ‘A’ September 30, 8-10:10 MOZART String Quintet in G minor, K.516 Tuesday ‘C’ October 3, 8-10:10 ANDRIS NELSONS, conductor Thursday ‘D’ October 19, 8-10:10 PAUL LEWIS, piano Friday Evening October 20, 8-9:15 BEETHOVEN Piano Concerto No. 4 (Casual Friday, with introductory comments SHOSTAKOVICH Symphony No. 11, The Year 1905 by a BSO member and no intermission) Saturday ‘A’ October 21, 8-10:10 Tuesday ‘B’ October 24, 8-10:10 Thursday, October 5, 10:30am (Open Rehearsal) KEN-DAVID MASUR, conductor Thursday ‘B’ October 5, 8-10:15 CAMILLA TILLING, soprano Friday ‘B’ October 6, 1:30-3:45 BILL BARCLAY, stage director Saturday ‘B’ October 7, 8-10:15 CRISTINA TODESCO, set designer ANDRIS NELSONS, conductor KATHLEEN DOYLE, costume designer GIL SHAHAM, violin CALEB MAYO, CAROLINE KINSOLVING, ARLENE SIERRA Moler BOBBIE STEINBACH, DANIEL BERGER-JONES, TCHAIKOVSKY Violin Concerto GEORGIA LYMAN, RISHER REDDICK, actors and RACHMANINOFF Symphony No. 2 WILL LYMAN, actor TANGLEWOOD FESTIVAL CHORUS, Thursday ‘A’ October 12, 8-9:55 JAMES BURTON, conductor Friday ‘A’ October 13, 1:30-3:25 BEETHOVEN Incidental music to Egmont Saturday ‘B’ October 14, 8-9:55 (October 19, 21, and 24 only) GUSTAVO GIMENO, conductor GRIEG Incidental music to Peer Gynt (theatrical adaptation by HILARY HAHN, violin Bill Barclay) LIGETI Concert Românesc DVORÁˇ K Violin Concerto SCHUMANN Symphony No. 1, Spring The BSO’s 2017-18 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

opening night coming concerts 57 Symphony Hall Exit Plan

58 Symphony Hall Information

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

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

opening night symphony hall information 59 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.