bso andris nelsons music director

week 9 grieg mahler

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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 9

7 bso news 13 on display in hall 16 bso music director andris nelsons 18 the symphony orchestra 21 remembering major henry lee higginson by brian bell 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 41 55 To Read and Hear More…

Guest Artists

61 63 Genia Kühmeier

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

the friday preview on november 15 is given by bso director of program publications marc mandel.

program copyright ©2019 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org MIGHT AND MAJESTY ON THE NILE

THROUGH JANUARY 20

Winged Isis pectoral, Nubian, Napatan Period, reign of Amaninatakelebte, 538–519 BCE. Sponsored by Media Partner is Gold. –Boston Museum of Fine Arts Expedition. 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 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Arthur I. Segel • Wendy Shattuck • Nicole M. Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees Vernon R. Alden • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • William J. Poorvu • Peter C. Read • John Reed • 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 President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

Nathaniel Adams • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Darcey Bartel • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber •

week 9 trustees and advisors 3 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® selection by Boston magazine.

Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 photos by Robert Torres and Winslow Townson

Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • 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. • Marc Rubenstein • 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. • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • 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 • 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 • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • 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 • 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 • 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 • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of October 2, 2019

week 9 trustees and advisors 5 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . BSO News

BSO Community Chamber Concerts The BSO is pleased to continue its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. followed by a coffee-and-dessert reception for the audience and musicians. There are two remaining Community Chamber Concerts this month, both scheduled for Sunday, November 24. The first, at Bunker Hill Community College, features BSO string players Victor Romanul, Xin Ding, Daniel Getz, and Adam Esbensen in Kodály’s Duo for and cello and Beethoven’s String Quartet No. 10 in E-flat, Opus 74, Harp. The other, at Mass College of Liberal Arts in North Adams, features BSO string players Lucia Lin, Julianne Lee, Rebecca Gitter, and Owen Young in string quartets of Haydn and Dvoˇrák, plus Stephen Koncz’s A New Satiesfaction (featuring Satie’s Gymnopédie No. 1). The latter program will also be performed on Friday afternoon, November 22, at 1:30 p.m. at North- eastern University’s Fenway Center, 77 St. Stephen St. Admission to all of these concerts is free, but reservations are required; please call (888) 266-1200. For further details about these and upcoming Community Chamber Concerts, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2019-20 Community Concerts are sponsored by Bank of America and Takeda Pharmaceutical Company Limited.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include this week’s program under Andris Nelsons pairing Grieg’s Concerto with Leif Ove Andsnes and Mahler’s Symphony No. 4 with soprano Genia Kühmeier (November 16; encore November 25); next week’s program, also under Andris Nelsons, with the world premiere of Arturs Maskats’s BSO-commissioned “My River runs to thee...” (Homage to Emily Dickinson), Tchaikovsky’s Violin Concerto with soloist Daniel Lozakovich, and, with the Tanglewood Festival Chorus, music of Galina Grigorjeva and Shostakovich (November 23; encore December 2); and the following week’s program with Christian Zacharias as conductor and pianist for Brahms’s Serenade No. 2, Schumann’s Introduction and Allegro appassionato for piano and orchestra, and Schumann’s Symphony No. 4 (November 30; encore December 9).

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of

week 9 bso news 7 Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this month’s Friday Preludes are Robert Kirzinger (November 8), Marc Mandel (November 15), and Elizabeth Seitz of the Boston Conservatory at Berklee (November 29).

individual tickets are on sale for all concerts in the bso’s 2019-2020 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Peter and Anne Brooke Concert Brookes also named a percussion chair in Friday, November 15, 2019 the orchestra in perpetuity, and were instru- mental in the construction of Ozawa Hall at The concert on Friday afternoon has been Tanglewood and renovations to Symphony named with a gift from BSO Life Trustee and Hall in the late 1980s. The Friday-afternoon past Chair of the Board of Trustees, Peter concert series is sponsored by The Brooke A. Brooke, and his late wife, BSO Overseer Family, who have also recently supported Anne Brooke, who passed away in October the Tanglewood Forever Fund and the 2016. As Great Benefactors, Peter and Tanglewood Music Center/Tanglewood Anne have been generous supporters of the Learning Institute Building Project. BSO since the late 1970s. Friday-afternoon subscribers for thirty-eight years, and Peter was elected to the BSO Board of members of the Higginson Society Founders Overseers in 1981, a Trustee in 1989, level and the Walter Piston Society, the Vice-Chair in 1995, Chair in 1999, and Life

8 Trustee in 2005. He served as co-chair of generous support of the BSO’s endowment the BSO 2OOO Campaign, helping to raise and the funding of the new Reading Room more than $150 million for the BSO. During located in the BSO Archives. In addition, his last year as Chair of the Board, Peter Brooks and Linda recently named the and the Trustees launched the Artistic orchestra chair held by violinist Bracha Initiative, an endowment fundraising effort Malkin. Brooks and Linda also donate their to support expanded musical endeavors time to the BSO. Brooks was elected to under Maestro , which Peter the BSO Board of Trustees in 2015, having and Anne generously supported. Peter is served for eleven years as a member of the known worldwide as a leader in the venture Board of Overseers (now Board of Advisors). capital community, having pioneered While an Overseer, he led an effort to business practices in that field for decades. connect the BSO with members of the As part of the Artistic Initiative, the venture private equity and venture capital communities; capital and private equity communities as a Trustee, he served on the Buildings honored the Brookes by naming the Peter and Grounds and Investment committees. and Anne Brooke Corridor at Symphony Hall. Brooks currently serves on the Finance Committee. Brooks and Linda served on Anne energetically matched Peter’s service the Symphony Gala Committee for the 2016 to non-profits in the community, chairing and 2017 events. They were also members and serving on many gala committees. She of the benefactor committee for Opening was elected to the BSO’s Board of Overseers Night at Pops in 2006 and 2007 and joined in 2006. Anne was chair of the Friends of the orchestra on their September 2018 the Public Garden (Boston), the Concord European Tour. Museum, and Historic Districts Commission in Concord; an honorary overseer of the Brooks is a senior managing director emeritus Museum of Fine Arts, Boston; an honorary and co-founder of HarbourVest Partners director and former vice-chair of the LLC, an independent investment firm that Massachusetts Audubon Society; and provides innovative private equity solutions former board member of the Boston Arts to institutional clients worldwide. Brooks Academy, among others. earned his B.S. from Lehigh University and his MBA from Harvard Business School. He “We were both introduced to the Symphony is a former trustee of Lehigh University. as children,” they have said, “and after years An artist, former French teacher, and of exposure to its wonderful sound, we think graduate of Wheaton College, Linda is it is appropriate to repay the BSO for all the a member of the Huntington Theatre pleasure it has given us.” Company Board of Advisors. Brooks and Linda have three married children and seven The Brooks and Linda Zug Concert grandchildren and reside in Sherborn, MA. Saturday, November 16, 2019 The performance on Saturday evening is Go Behind the Scenes: supported by a generous gift from BSO The Irving W. and Charlotte F. Rabb Great Benefactors D. Brooks and Linda Symphony Hall Tours M. Zug. Linda and Brooks are patrons of the Boston Symphony Orchestra’s The Irving W. and Charlotte F. Rabb Symphony diverse offerings. BSO subscribers for Hall Tours, named in honor of the Rabbs’ twenty-one consecutive years, they also devotion to Symphony Hall through a gift attend Holiday Pops, Spring Pops, and from their children James and Melinda Rabb Tanglewood performances. The couple and Betty (Rabb) and Jack Schafer, provide supports the mission of the BSO as a rare opportunity to go behind the scenes members of the Higginson Society at the at Symphony Hall. In these free, guided Virtuoso level. They participated in the tours, experienced members of the Boston Beyond Measure campaign through their Symphony Association of Volunteers unfold

week 9 bso news 9 the history and traditions of the Boston Sym- the BSO help bridge that gap, bringing the phony Orchestra—its musicians, conductors, joys of orchestral music to everyone. In and supporters—as well as offer in-depth addition to joining our family of passionate information about the Hall itself. Tours are music lovers, you will also enjoy a variety of offered on select weekdays at 4:30 p.m. and exclusive benefits designed to bring you closer some Saturdays at 5 p.m. during the BSO to the music you cherish. Friends receive season. Please visit bso.org/tours for more advance ticket ordering privileges, discounts information and to register. at the Symphony Shop, and special invita- tions to behind-the-scenes donor events, such as BSO and Pops working rehearsals and Join Our Community of much more. Friends memberships start at just Music Lovers— $100. To join our community of music lovers The Friends of the BSO in the Friends of the BSO, contact the Friends As a music lover, you know how special at (617) 638-9276, [email protected], it is to experience a performance here at or join online at bso.org/contribute. Symphony Hall. Attending a BSO concert is a communal experience—thousands of con- Planned Gifts for the BSO: certgoers join together to hear 100 musicians Orchestrate Your Legacy collaborate on each memorable performance. There is another community that helps to There are many creative ways that you can make it all possible—the Friends of the BSO. support the BSO over the long-term. Planned Every $1 the BSO receives through ticket gifts such as bequest intentions (through sales must be matched by an additional $1 your will, personal trust, IRA, or insurance of contributed support to cover annual policy), charitable trusts, and gift annuities expenses. Annual gifts from the Friends of can generate significant benefits for you

Boston soCiety Marcus Thompson, Artistic Director

“...fully committed, live music-making.” The Boston Musical Intelligencer

Season 2019/20 at Sanders Theatre

Sun. 11/17 • 7:30 PM Sun. Jan. 5 • 3:00 PM Franz Schubert Fantasie for Violin & Piano in C major, D. 934 Sonata in A minor for & Piano, “Arpeggione” Henri Dutilleux Anton Arensky Les Citations for Oboe, Bass, Harpsichord & Percussion String Quartet in A minor, Op. 35 Edward Elgar Piano Quintet in A minor, Op. 84 Piano Trio in A minor, Op. 50 617.349.0086 • www.bostonchambermusic.org

10 now while enabling you to make a larger gift Those Electronic Devices… to the BSO than you may have otherwise As the presence of smartphones, tablets, and thought possible. In many cases, you could other electronic devices used for commu- realize significant tax savings and secure an nication, note-taking, and photography has attractive income stream for yourself and/ increased, there have also been continuing or a loved one, all while providing valuable expressions of concern from concertgoers future support for the performances and and musicians who find themselves dis- programs you care about. tracted not only by the illuminated screens When you establish and notify us of your on these devices, but also by the physical planned gift for the Boston Symphony movements that accompany their use. For Orchestra, you will become a member of this reason, and as a courtesy both to those the Walter Piston Society, joining a group on stage and those around you, we respect- of the BSO’s most loyal supporters who are fully request that all such electronic devices helping to ensure the future of the BSO’s be completely turned off and kept from view extraordinary performances. Named for while BSO performances are in progress. Pulitzer Prize-winning and noted In addition, please also keep in mind that musician Walter Piston, who endowed the taking pictures of the orchestra—whether BSO’s principal flute chair with a bequest, photographs or videos—is prohibited during members of the Piston Society are recog- concerts. Thank you very much for your nized in several of our publications and cooperation. offered a variety of exclusive benefits, including invitations to events in Boston and at Tanglewood. On Camera With the BSO If you would like more information about The Boston Symphony Orchestra frequently planned gift options and how to join the records concerts or portions of concerts Walter Piston Society, please contact Jill Ng, for archival and promotional purposes via Director of Planned Giving and Senior Indi- our on-site video control room and robotic vidual Giving Officer, at (617) 638-9274 or cameras located throughout Symphony Hall. [email protected]. We would be delighted to help Please be aware that portions of this con- you orchestrate your legacy with the BSO. cert may be filmed, and that your presence acknowledges your consent to such photog- raphy, filming, and recording for possible use BSO Members in Concert in any and all media. Thank you, and enjoy Mistral Music, whose membership includes the concert.t. BSO violinist Julianne Lee and BSO cellist Mickey Katz, performs in a benefit concert, Comings and Goings... “Hope & Harmony,” on Sunday, November 17, at 7:30 p.m. at Jordan Hall. Sir Simon Please note that latecomers will be seated Rattle conducts a program of Beethoven, by the patron service staff during the first Brahms, and Mozart with an orchestra convenient pause in the program. In addition, including guests from other prominent please also note that patrons who leave the ensembles, more than a dozen of them auditorium during the performance will not from the BSO. The concert will raise funds be allowed to reenter until the next convenient for underserved women with breast cancer. pause in the program, so as not to disturb the Tickets from $50 to $100 are available at performers or other audience members while Mistral’s website (mistralmusic.org), by the music is in progress. We thank you for e-mail ([email protected]), or by your cooperation in this matter. calling (978) 474-6222.

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For more information, contact John Morey at 617-292-6799 or [email protected] on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of legendary BSO conductor Serge Koussevitzky done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour

TOP OF PAGE, LEFT TO RIGHT: Jesús María Sanromá and Arthur Fiedler, c.1930 (photographer unknown) Season ticket, made of brass, from the BSO’s inaugural subscription season, 1881-82 (Bridget Carr) Seiji Ozawa conducting at Beijing’s Capital Stadium, March 1979 (Story Lichfield)

week 9 on display 13 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now offers the most international flights from Boston.

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Andris Nelsons

The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty- six weeks of concerts this season, ranging from repertoire favorites by Beethoven, Dvoˇrák, Gershwin, Grieg, Mozart, Mahler, Rachmaninoff, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, Arturs Maskats, and HK Gruber. The season also brings the continuation of his complete Shosta- kovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists, including a concert performance of Tristan und Isolde, Act III—one of three BSO programs he will also conduct at —with and Emily Magee in the title roles. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai.

In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhaus- orchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance is a focus on complementary program- ming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. For this season’s “Leipzig Week in Boston,” under Maestro Nelsons’ leadership in October, the entire Gewandhausorchester Leipzig came to Symphony Hall for joint concerts with the BSO as well as two concerts of its own.

In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, , Leipzig, , Lucerne, , and Amsterdam; in May 2016, a tour that

16 took them to eight cities in , , and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals.

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 recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms on BSO Classics; Grammy-winning recordings on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). This November, a new release on Naxos features Andris Nelsons and the orchestra in the world premieres of BSO-commissioned works by Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the .

During the 2019-20 season, Andris Nelsons continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the , Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, and has been a regular guest at the Bayreuth Festival and the Royal House, Covent Garden.

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. Marco Borggreve

week 9 andris nelsons 17 Boston Symphony Orchestra 2019–2020

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

u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 18 photos by Robert Torres and Winslow Townson

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

week 9 boston symphony orchestra 19

Remembering Major Henry Lee Higginson (November 18, 1834-November 14, 1919) by Brian Bell

This month brings the centennial of BSO founder Henry Lee Higginson’s death.

The intention is that this orchestra shall be made permanent here, and shall be called “The Boston Symphony Orchestra.”

Both as the condition and result of success the sympathy of the public is asked. —H.L. Higginson

The notice displayed in the Boston newspapers (ending with the sentences shown above) on March 30, 1881, was austere, little more than a display of intentions, with not a hint of the bombast perhaps expected with such a venture. Yet Major Henry Lee Higginson’s announcement of a “Boston Symphony Orchestra” performing twenty Saturday-night concerts for the upcoming 1881-82 season was a daring move. Never before or since has a single individual presented such a large cultural enterprise at a single venue. He did so at prices that virtually guaranteed financial catastrophe—and yet he succeeded, creating an institution that some 140 years later would surely surprise him with the scope and breadth of its activities. His success seems to have been equal parts hard work, determi- nation, business acumen, civic benevolence, musical knowledge, and luck.

Leaving Harvard after his freshman year due to poor eyesight, Henry Lee Higginson journeyed to Vienna to attempt a musical career. He practiced piano to the point of

Major Henry Lee Higginson, a 1903 portrait by (Harvard Museums)

week 9 remembering major henry lee higginson 21 debilitation, realizing he had the enthusiasm for music, but not the talent. He made several lifelong friends in Vienna, including the pianist Julius Epstein, who would later give invaluable advice on the conducting talents dominating Europe. But the Civil War demanded Higginson’s return. Within a year of the war’s start, he was promoted to Major, a rank he kept for the rest of his life. On June 17, 1863, he was severely wounded at Aldie Gap, Virginia, where he convinced the Confederate soldiers to let him die (his brother James was taken prisoner in the same skirmish) and managed to crawl back to his men.

After the war, he joined the investment firm Lee, Higginson & Co. founded by his father George with James Lee. As the Major later put it: “I was taken in at the beginning of 1868 as a matter of charity: I had been in the War...and lost all I had, and more too.” He joined the firm with a personal deficit of over $10,000, yet soon was steering the firm into enviable prosperity. A shrewd judge of character who prized honesty above all, Higginson amassed a sizable personal fortune in the decade after the Great Boston Fire of 1872 and the financial panic the following year. He decided to gamble that fortune on a permanent orchestra for the city of Boston.

His proposal had several notable features. The top price for the subscription of all twenty concerts was $10; the lower price was $5. The top price for single seats was seventy-five cents, well below the typical concert admission of a dollar. If any seats remained unsold at the time of the concert, they would go for twenty-five cents. (The offer of “rush” seats continues to this day, though at somewhat higher prices.)

Like the rush seats, another idea he adopted from the Germania Musical Society (active from 1848 to 1852) was the concept of public rehearsals. Every Saturday-evening con- cert would be preceded by a public rehearsal at 2:30 on Friday afternoon. Admission was twenty-five cents, no reserved seating. Audiences flocked to these Friday-afternoon rehearsals, especially when it became apparent that the conductor never stopped the orchestra, making the afternoon rehearsal indistinguishable from a Saturday-night concert! The moniker of the public rehearsal was eventually dropped in 1916; the current Friday- afternoon concert series is a direct descendant of Higginson’s initial plan. Higginson also wanted the Boston Symphony Orchestra to benefit the college students, specifically those at Harvard University. He proposed to his alma mater that the Boston Symphony give six Wednesday-night concerts over the course of the season at Harvard’s Sanders Theatre, offering students all six concerts for a total of $2.

For his first conductor, Higginson made another daring move. Rather than the firmly established Carl Zerrahn, who, among other duties, led the Handel and Haydn Society, the orchestra of the Harvard Musical Association, and the Boston Philharmonic, Higginson looked to a young, engaging musical personality who was known primarily as a baritone, Georg Henschel. Henschel had appeared in Boston to marry the soprano Lillian Bailey, and Higginson had heard him conduct, as part of a joint concert given by the couple on March 3, 1881, an overture of Henschel’s own composition. Based on the performance of just that piece, Higginson within three weeks hired Henschel to conduct and oversee all musical aspects of the Boston Symphony, as well as the hiring of the

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24 A note from Henry Lee Higginson to Harvard President Charles W. Eliot proposing the dates of the Sanders Theatre concerts of the 1881-82 season—any record of that season’s concerts being lost until the discovery of this note in President Eliot’s papers at Harvard University in June 2009 by Brian Bell

musicians and deciding single-handedly the orchestra’s programming. Higginson also directed Henschel to return to Europe to purchase scores and parts for the orchestra— many of which are in the BSO library to this day.

Though the concerts were immensely popular from the beginning, it was not entirely smooth sailing that first season. Henschel programmed the two existing symphonies of his good friend , whose music would not find favor here in Boston for at least twenty years. He also wrote several compositions in which he or his bride appeared as soloist. But the largest conflict concerned personnel. Most of the musicians were established players who had many activities in and around Boston, cultivated over many years. When scheduling conflicts arose, they would send a substitute, or no one would appear at all. Matters came to a head within weeks, when principal cellist Wulf Fries was dismissed and Carl Bayrhoffer then led the section, becoming the BSO’s first cello soloist in December.

For the following season, Higginson sent the musicians a contract offer on February 25, 1882, containing the clause: “On the days specified you neither play in any other orches- tra nor under any other conductor than Mr. Henschel, except if wanted in your leisure hours by the Handel and Haydn Society, nor will you play for dancing.” So for those twenty-six weeks, October 1882 through March 1883, a resident orchestra for the first time provided an exclusive contract for its musicians.

This created a new challenge. Though the concerts in Boston were popular the first season, it was a given in 1882 that within each week, the city would not fill the Music Hall beyond

week 9 remembering major henry lee higginson 25 the single concert and public rehearsal. Higginson decided to have the orchestra travel and give concerts on Thursday and Friday nights (after the Friday-afternoon public rehearsal). In addition to the six concerts at Sanders Theatre (now moved to Thursdays), the Boston Symphony performed in Salem, Worcester, Fall River, Lynn, Fitchburg, New Bedford, and Lowell, as well as in Providence and Newport (Rhode Island) and Portland (Maine). That season contained seventy-eight events for which admission was charged. Higginson’s losses that season were massive. Though Boston’s Music Hall was filled to capacity, concerts in Lynn and Fitchburg had as few as 300 patrons.

Rather than retrench from his plan, Higginson soldiered on. Boston’s concerts for the third season were reduced to twenty-four weeks, but the travel continued. Then, in 1885, Higginson announced another bold series of performances, but with the firm caveat that if the public didn’t support them, they would be withdrawn. They were the Popular concerts, what we now know as the Boston Pops. Performances began as soon as the Symphony season ended, and after two months, tables with food, cigars, and drinks were added. For two seasons, the musicians were given year-round employment, but diminishing audiences as the summer wore on ended the season at the beginning of July in 1887.

Since the needs of the orchestra overwhelmed the supply of Boston musicians, Europe was recruited and answered the call, thanks to the generous salary and security that Higginson’s orchestra offered. As the seasons progressed, Boston musicians objected

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26 Georg Henschel (1850-1934), who from 1881 to 1884 was the BSO’s first conductor

to foreigners taking the most lucrative jobs to be had. One serious event that generated a large amount of newspaper ink was the Musicians Protective Union’s objecting to the hiring of conductor Artur Nikisch in 1889 “as a violation of Contract Labor Law.” The courts upheld Major Higginson, the nascent union’s primary objection being the hiring of musicians from outside of Boston.

Within ten years of its founding, the Boston Symphony Orchestra was considered as fine as any in the world. Concerts in Lynn and Fitchburg were soon replaced by ten con- certs a season in New York, and five each in , , and Washington, D.C. In 1903, Higginson established a Pension Fund for the orchestra—easily the earliest such institution of its kind—to ensure further the security of its musicians beyond their active careers.

After Higginson entrusted the reins of the BSO to others in April 1918, it was Harvard President Charles William Eliot who wrote a proclamation to Higginson which read in part: “You have steadily insisted that the skilled musician’s occupation is not a mechanical trade but an artistic profession.... Music transcends the limits of race, requires no versions or translations, and ranges freely through all the civilized world and the successive generations of men. Your success in creating the Symphony Orchestra as a permanent institution...will prove an exalting and binding influence....” brian bell, producer of the Boston Symphony Orchestra’s radio broadcasts from 1991 to 2012, currently produces podcasts and interviews for bso.org.

week 9 remembering major henry lee higginson 27

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 139th season, 2019–2020

Thursday, November 14, 8pm | sponsored by hemenway & barnes llp Friday, November 15, 1:30pm | the peter and anne brooke concert Saturday, November 16, 8pm | the brooks and linda zug concert

andris nelsons conducting

grieg in a minor, opus 16 Allegro molto moderato Adagio Allegro moderato molto e marcato leif ove andsnes

{intermission} Peter Vanderwarker

30 mahler symphony no. 4 in g Bedächtig. Nicht eilen [Deliberately. Do not hurry] In gemächlicher Bewegung. Ohne Hast [With easygoing motion. Without haste] Ruhevoll (Poco adagio) [Serene (Somewhat slow)] Sehr behaglich [Very comfortably] genia kühmeier, soprano Text and translation begin on page 52.

saturday evening’s performance of grieg’s piano concerto is supported by a gift in memory of lee and gerald flaxer. saturday evening’s performance of mahler’s symphony no. 4 is supported by a gift in memory of harry and dorothy herscot. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10 and the afternoon concert about 3:30 First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons , selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 9 program 31 The Program in Brief...

Edvard Grieg was twenty-four when he composed his only piano concerto during a summer holiday in . The young Norwegian composer was still under the spell of ’s Piano Concerto, which he had heard for the first time while he was a teenager studying at the Leipzig Conservatory. So it is no coincidence that Grieg cast his concerto in the same key as Schumann’s, and sought to capture qualities similar to Schumann’s in his own—including what he called “its noble disdaining of an extrovert, virtuoso style.” Though Grieg’s concerto does include a rip-roaring first-movement cadenza—which prompted an ovation at the premiere that brought proceedings to a temporary halt—most of the music, like Schumann’s, requires sensitivity, variety of touch, poetry, finesse, lilt, and imagination as additional elements of virtuoso display. And to all of this Grieg added a crucial personal element, following upon his wish to create a specifically and distinctively Norwegian music. The explosive beginning of the concerto is modelled on Schumann’s—a roll on the timpani, a proclamatory chord from the orchestra, and a pianistic cascade of octaves and chords descending across three octaves. The second movement presents a melody in the muted strings; the piano meditates in a series of arabesques that provide a countermelody. The finale offers the most piquantly and exuberantly Norwegian music in the entire piece.

Years after writing his Symphony No. 4, Gustav Mahler famously stated that for him, the idea of “symphony” encompassed the entire world. Completed in 1901, the Fourth is the last of his three Wunderhorn symphonies—so-called for their use of texts from the German folk-poetry collection Des Knaben Wunderhorn (Youth’s Magic Horn). Here Mahler takes us on a journey beginning with the sound of earthly sleigh bells and moving ultimately through the gloriously unfolding third-movement variations that lead us to the finale’s winsome depiction in song of “Life in Heaven.” In fact, the climax of the third-movement Adagio can be heard as a musical evocation of the opening of the gateway to Heaven. Throughout this symphony, Mahler’s use of his large orchestra is strikingly airy, kaleidoscopic, even chamber-musical, rarely calling for the entire ensemble to play simultaneously at full volume. The initial tempo markings for each movement— “Do not hurry”; “Without haste”; “Serene”; “Very comfortably”—also say much about his overall conception. Shortly before the end, the text of the finale tells us that “There is just no music on earth that can compare to ours [in Heaven].” One of Mahler’s extraordinary achievements in his Fourth Symphony is to let us experience that here and now, while we are still on earth.

Richard Dyer/Marc Mandel

32 Edvard Grieg Piano Concerto in A minor, Opus 16

EDVARD GRIEG was born in Bergen, Norway, on June 15, 1843, and died there on September 4, 1907. He began his (only) piano concerto in June 1868, completing the score early in 1869. The first performance took place in on April 3, 1869, with Edmund Newpert as soloist and Holger Simon Paulli conducting the orchestra of the Royal Theater. Grieg made revisions to the concerto in 1872, 1882, 1890, and 1895; he sent the last set of revisions (which included the addition of third and fourth horns) to his publisher on July 21, 1907, six weeks before his death.

IN ADDITION TO THE PIANO SOLOIST, the score of Grieg’s Piano Concerto calls for an orches- tra of two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Grieg’s familiar and popular piano concerto was one of the most important steps on his path toward the creation of a national Norwegian music. After completing his course at the Leipzig Conservatory, he returned north and settled in Copenhagen, the only Scandi navian city to have an active musical life. There he met Rikard Nordraak, another Norwegian composer just one year his senior, whose influence on him was to prove decisive, especially after Nordraak’s premature death at the age of twenty-four. He spent several years in the musical backwater of Christiana, Denmark, where he was the director of the Philharmonic Society, fighting the good fight for music of real sub stance on his programs. He was later to look on these years as “entirely unproductive,” since his time was almost totally taken up with performance rather than composition.

Following the birth of a daughter on April 10, 1868, Edvard and Nina Grieg spent a pleasant and productive summer in a cottage at Søllerøc, Denmark, where he experienced a creative outburst that resulted in the Opus 16 concerto. From the very first it has been regarded as Grieg’s finest large-scale accomplishment (he generally found the small keyboard miniature to be more congenial to his temperament) and as the fullest musical embodiment of Norwegian nationalism in .

week 9 program notes 33 Program page for the first Boston Symphony performance of Grieg’s Piano Concerto on October 29, 1881, with soloist William H. Sherwood under the direction of Georg Henschel, in the second week of the orchestra’s first season (BSO Archives)

34 The winter following this splendidly fruitful summer was discouraging, as Grieg found himself once again trapped in the indifference and philistinism of Christiana. He had ap plied for a state traveling grant and had been rejected; it seemed unlikely that any new application would be favorably received. Then, suddenly, he received a gracious letter from , apparently unsolicited, in which Liszt expressed the pleasure he had received in perusing Grieg’s Opus 8 sonata for violin and piano and invited the young composer to visit him in Weimar should the opportunity arise. This letter opened doors that had up to then been firmly shut; not long after, Grieg received his travel grant, which allowed him to take Liszt up on his invitation a year later.

In the meantime there was the first performance of the new concerto to attend to, as well as repeat performances to introduce the work to Denmark and Norway. At about this time, too, he discovered a treasury of Norwegian folk music transcribed into piano score. He delved avidly into the collection and began to realize how a skilled musician could make use of folk elements in his works. From this time Grieg’s interest in the for- mal classical genres began to decline—of that type, he produced only a string quartet and two sonatas after this date.

It took until February 1870 for the Griegs to catch up with Liszt, not in Weimar but in Rome. When they did, though, the result was highly gratifying for the young man. Liszt promptly grabbed Grieg’s portfolio of compositions, took them to the piano, and sight-read

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week 9 program notes 35 bravo to

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through the G major violin sonata, playing both the violin and piano parts. When Grieg complimented him on his ability to sight-read a manuscript like that, he simply replied modestly, “I’m an experienced old musician and ought to be able to play at sight.” At a later visit, in April, Grieg brought his piano concerto, and this time Liszt’s sight-reading was even more fabulous: he played at sight from the manuscript score the entire concerto, both orchestral and solo parts, with ever-increasing enthusiasm. Grieg recounted the incident in a letter home: I must not forget one delightful episode. Toward the end of the finale the second theme is, you will remember, repeated with a great fortissimo. In the very last bars, where the first note of the first triplet—G-sharp—in the orchestral part is changed to G-natural [five bars before the end of the piece], while the piano runs through its entire compass in a powerful scale passage, he suddenly jumped up, stretched himself to his full height, strode with theatrical gait and uplifted arm through the monastery hall, and literally bellowed out the theme. At that particular G-natural he stretched out his arm with an imperious gesture and exclaimed, “G, G, not G-sharp! Splendid! That’s the real thing!” And then, quite pianissimo and in parentheses: “I had something of the kind the other day from Smetana.” He went back to the piano and played the whole thing over again. Finally he said in a strange, emotional way: “Keep on, I tell you. You have what is needed, and don’t let them frighten you.”

Though the concerto was popular from the start, and was published in full score only three years after its composition, Grieg himself was never entirely satisfied with it, and he continued to touch up details of both the orchestral and solo parts for the rest of his life. A few critics have attacked the work—notably Bernard Shaw (writing as “Corno di Bassetto”) and Debussy—and it has certainly been overplayed and mistreated, especially in a popular operetta, Song of Norway, very loosely based on Grieg’s life, but it retains its freshness and popularity nonetheless. The basic architecture is inspired by Schumann’s

week 9 program notes 37 38 essay in the same medium and key, though the piano part is of Lisztian brilliance, blended with Grieg’s own harmonic originality, which was in turn influenced by his studies of Norwegian folk song. One Norwegian analyst has pointed out that the opening splash of piano, built of a sequence consisting of a descending second followed by a descending third, is a very characteristic Norwegian melodic gesture, and that this opening typifies the pervasiveness of the folk influence. For the rest, the first movement is loaded with attractive themes, some obviously derived from one another, others strongly contrast- ing, a melodic richness that has played a powerful role in generating the concerto’s appeal. The animato section of the first movement includes figurations of the type used by folk-fiddlers; the lyric song of the second movement is harmonized in the style of some of Grieg’s later folksong settings; and the finale consists of dance rhythms reminis- cent of the halling and springdans.

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

THE FIRST AMERICAN PERFORMANCE of Grieg’s Piano Concerto was given on February 21, 1874, at the Academy of Music in Baltimore; Asger Hamerik led an orchestra of Peabody Institute musicians, with B. Courlaender as soloist. The first Boston performance was on October 28, 1874, in the Music Hall, with pianist F. Boscovitz and the Thomas Orchestra led by Theodore Thomas.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Grieg’s Piano Concerto was given in the second week of the orchestra’s inaugural season, on October 29, 1881; Georg Henschel conducted, with William H. Sherwood as soloist. Since then, BSO performances have featured Carl Stasny and Teresa Carreno (with Emil Paur); Fanny B. Zeisler, Edith Thompson, Augusta Cottlow, Cornelius Priebner, George Proctor, and Olga Samaroff (with ); Katherine Goodson, Rudolph Ganz, Samaroff, and Mrs. Truman Aldrich (); Corneille Overstreet, Louisa M. Hopkins, Olga Samaroff-Stokowski, and Goodson (Max Fiedler); Samaroff (Henri Rabaud); Heinrich Gebhard, Ganz, Goodson, Wilhelm Backhaus, Thompson, Samaroff, and Magdeleine Brard (); Charles Naegele, Irene Scharrer, Jesús María Sanromá, and Ania Dorfman (Serge Kous- sevitzky); Van Cliburn (Erich Leinsdorf and André Previn); Misha Dichter (John Nelson); András Schiff (Kurt Masur); (Robert Spano and Neeme Järvi); Jean-Yves Thibaudet (Neeme Järvi), Nelson Freire (Shi-Yeon Sung), (the most recent subscription per- formances, with John Nelson in March/April 2011), and Jan Lisiecki (the most recent Tanglewood performance, with Andris Nelsons on July 12, 2019).

week 9 program notes 39

Gustav Mahler Symphony No. 4 in G

GUSTAV MAHLER was born in Kalischt (Kalistˇ e)ˇ near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. Except for the finale, which was composed as a song with piano accompaniment in February 1892, he wrote his Fourth Symphony between June 1899 and April 1901. He continued, however, on the basis of his experience conducting the work, to tinker with the orchestration. The score published in 1963 by the International Gustav Mahler Society, Vienna, incorporates the composer’s final revisions, made after the last performances he conducted with the in January 1911. Mahler led the first performance of the work on November 25, 1901, with the Kaim Orchestra of ; the soprano was Margarete Michalek.

THE SCORE OF MAHLER’S SYMPHONY NO. 4 calls for an orchestra of four flutes (third and fourth doubling piccolo), three oboes (third doubling English horn), three clarinets (second doub- ling E-flat clarinet, third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, timpani, bass drum, triangle, sleigh bells, glockenspiel, cymbals, tam-tam, harp, and strings, plus solo soprano in the finale.

Many a love affair with Mahler has begun with the sunlit Fourth Symphony. Mahler himself thought of it as a work whose transparency, relative brevity, and non-aggressive stance might win him new friends. In the event, it enraged most of its first hearers. Mu n ich hated it, and so did most of the German ci t ies—Stuttgart being, for some reason, the ex cep tion—where Felix Wein gart ner took it on tour with the Kaim Or chestra imme- diately after the premiere. In a letter of September 1903, Mahler refers to it as “this persecuted step child.” It at last made the im pres sion he had hoped for at a concert he conducted in October 1904 with the Concertgebouw Orchestra in Amster dam (the program: Mahler Fourth—intermission—Mahler Fourth).

The very qualities Mahler had banked on were the ones that annoyed. The bells, real and imitated (in flutes), with which the music begins! And that chawbacon tune in the violins! What in heaven’s name was the composer of the Resurrection Symphony up to

week 9 program notes 41 Program page for the first complete Boston Symphony performances of Mahler’s Symphony No. 4 on March 23 and 24, 1945, conducted by Richard Burgin with soprano soloist Mona Paulee (BSO Archives)

42 with this newfound naiveté? Most of the answers proposed at the time were politicized, anti-Semitic, ugly. Today we perceive more clearly that what he was up to was writing a Mahler symphony, uncharacteristic only in its all but exclusive involvement with the sunny end of the expressive range. But naive? The violin tune, yes, is so popular in tone that we can hardly conceive that once upon a time it didn’t exist, but it is also pianissimo, which is the first step toward subverting its rustic simplicity. Then Mahler marks accents on it in two places, both unexpected. The first phrase ends, and while clarinets and bassoons mark the beat, low strings suggest a surprising though charmingly appro- priate continuation. A horn interrupts them midphrase and itself has the very words taken out of its mouth by the bassoon. At that moment the cellos and basses assert them selves with a severe “as I was saying,” just as the violins chime in with their own upside-down thoughts on the continuation that the lower strings had suggested four bars earlier. The game of interruptions, resumptions, extensions, reconsiderations, and unexpected combinations continues—for example, when the violins try their first melody again, the cellos have figured out that it is possible to imitate it, lagging two beats behind (a discovery they proffer with utmost discretion, pianissimo and deadpan)—until bassoons and low strings call “time out,” and the cellos sing an ardent something that clearly declares “new key” and “second theme.”

“Turning cliché into event” is how Theodor W. Adorno characterized Mahler’s practice. Ideas lead to many different conclusions and can be ordered in so many ways: Mah ler’s master here is the Haydn of the London symphonies and string quartets of the 1790s. The scoring, too, rests on Mahler’s ability to apply an original and altogether personal fantasy to resources not in themselves extraordinary. Trombones and tuba are absent; only the percussion is on the lavish side. Mahler plays with this orchestra as though with a kaleidoscope. He can write a brilliantly sonorous tutti, but he hardly ever does. What he likes better is to have the thread of discourse passed rapidly, wittily from in strument to instrument, section to section. He thinks polyphonically, but he enjoys the combining of textures and colors as much as the combining of themes. He values

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44 The Villa Mahler at Maiernigg on the Wörthersee, where Mahler spent summer holidays from 1900 to 1907 and composed his Fourth through Eighth symphonies

transparency, and his revisions, over ten years, of the Fourth Symphony are always and consistently in the direction of achieving a more aerated sound.

He could think of the most wonderful titles for the movements of this symphony, he wrote to a friend, but he refused “to betray them to the rabble of critics and listeners” who would then subject them to “their banal misunderstandings.” We do, however, have his name for the scherzo: “Freund Hein spielt auf”—“Death strikes up.” (“Freund Hein”—literally this could be rendered as “Friend Hal”—is a fairy-tale bogey whose name is most often a euphemism for Death.) Alma Mahler amplified that hint by writing that here “the composer was under the spell of the self-portrait by Arnold Böcklin, in which Death fiddles into the painter’s ear while the latter sits entranced.” Death’s fiddle is tuned a whole tone high to make it harsher (the player is also instructed to make it sound like a country instrument and to enter “very aggressively”). Twice Mahler tempers these grotesqueries with a gentle Trio: Willem Mengel berg, the Amsterdam conductor, took detailed notes at Mahler’s 1904 rehearsals, and at this point he put into his score that “here, he leads us into a lovely landscape.” (Later, at the magical turn into D major, with the great harp chord and the violin glissandi crossing in opposite directions, Mengelberg wrote “noch schöner” [“still more beautiful”].)

The Adagio, which Mahler thought his finest slow movement, is a set of softly and gradually unfolding variations. It is rich in seductive melody, but the constant feature to which Mahler always returns is the tolling of the basses, piano under the pianissimo of the violas and cellos. The variations, twice interrupted by a leanly scored lament in the minor mode, become shorter, more diverse in character, more given to abrupt changes of outlook. They are also pulled more and more in the direction of E major, a key that dramatically asserts itself at the end of the movement in a blaze of sound. Working mir acles in harmony, pacing, and orchestral fabric, Mahler, pronouncing a benediction, brings us back to serene quiet on the very threshold of the original G major, but when the finale almost imperceptibly emerges, it is in E. Our entry into this region has been

week 9 program notes 45 Now Leasing Call to learn more about our move in specials

Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick prepared, but it is well that the music sounds new, for Mahler means us to understand that now we are in heaven.

On February 6, 1892, Mahler had finished a song he called “Das himmlische Leben” (“Life in Heaven”), one of five Humoresques on texts from Des Knaben Wunderhorn (“The Boy’s Magic Horn”). Des Knaben Wunderhorn is a collection of German folk poetry, compiled in nationalistic and Romantic fervor just after 1800 by two poets in their twenties, Clemens Brentano and Achim von Arnim. That, at least, is what it pur- ports to be: in fact, the two poets indulged themselves freely in paraphrases, additions, and deletions, fixing things so as to give them a more antique and authentic ring, vene contributing poems all their own. However that may be, their collection, whose three volumes came out between 1805 and 1808, made a considerable impact, being widely read, discussed, criticized, and imitated.

A number of went to the Wunderhorn for texts (including Brahms for his Lullaby), none more often or more fruitfully than Mahler, who be gan to write Wund erhorn songs immediately after completing the First Sym phony in 1888 (he had already bor- rowed a Wunderhorn poem as the foundation of the first of hisTraveling Wayfarer songs of 1884-85). The Wunderhorn then touches the Sec ond, Third, and Fourth sympho nies. The scherzo of No. 2 was com posed together and shares material with a setting of the poem about Saint Anthony of Padua’s sermon to the fishes, and the next movement si

week 9 program notes 47 CONTEXT

LISTEN. STREAM. DOWNLOAD. Title page from the first edition of Volume 1

the song “Urlicht” (“Pri mal Light”). The Third Symphony’s fifth movement is another Wunderhorn song, “Es sungen drei Engel” (“Three Angels Sang”), and until about a year before completing that symphony, Mahler meant to end it with “Das himmlische Leben,” the song we now know as the finale of the Fourth. That explains why the Third appears to “quote” the Fourth, twice in the minuet, and again in the “Drei Engel” song: those moments prepare for an event that was not, after all, allowed to occur (or that did not occur until five years and one symphony later).

For that matter, Mahler had to plan parts of the Fourth Symphony from the end back, so that the song would appear to be the outcome and conclusion of what was in fact com posed eight years after the song. From a late letter of Mahler’s to the Leipzig conductor Georg Göhler, we know how important it was to him that listeners clearly understand how the first three movements all point toward and are resolved in the finale. The music, though gloriously inventive in detail, is of utmost cleanness and sim- plicity. The solemn and archaic chords first heard at “Sanct Peter in Himmel sieht zu” (“Saint Peter in heav en looks on”) have a double meaning for Mahler; here they are associated with de tails about the domestic arrangements in this mystical, sweetly scurrile picture of heaven, but in the Third Symphony they belong with the bitter self-castigation at having transgressed the Ten Commandments and with the plea to God for forgiveness. Whether you are listening to the Fourth and remembering the Third, or the other way around, the reference is touching. It reminds us, as well, how much all of Mahler’s work is one work. Just as the symphony began with bells, so it

week 9 program notes 49 BUILDING SPACES THAT CREATE HARMONY

Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. ends with them—this time those wonderful, deep single harp-tones of which Mahler was the discoverer.

The poem is a Bavarian folk song called “Der Himmel hängt voll Geigen” (“Heaven is Hung With Violins”). About the text: Saint Luke’s symbol is a winged ox. Saint Martha, sister of Lazarus, is the patron saint of those engaged in service of the needy. (In life, Saint Luke tells us, she “was cumbered about much serving,” and it seems that nothing has changed for her in heaven.) On Saint Ursula and the eleven thousand virgins, I quote Donald Attwater’s indispensable Penguin Dictionary of Saints (Penguin Books, 1965): Ur sula, to avoid an unwanted marriage, departed with her company from the island of Britain, where her father was a king; on their way back from a visit to Rome, they were slaughtered by Huns at Cologne on account of their Christian faith. During the twelfth century this pious romance was preposterously elaborated through the mis- takes of imaginative visionaries; a public burial-ground uncovered at Cologne was taken to be the grave of the martyrs, false relics came into circulation and forged epitaphs of non-existent persons were produced. The earliest reference which gives St. Ursula the first place speaks of her ten companions: how these eleven came to be multiplied by a thousand is a matter of speculation.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. has published three compilations of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

THE FIRST AMERICAN PERFORMANCE of Mahler’s Symphony No. 4 was conducted by at a concert of the New York Symphony Society on November 6, 1904, with the soprano Etta de Montjau.

THE FIRST BOSTON SYMPHONY PERFORMANCES of music from Mahler’s Fourth Symphony were of just the third and fourth movements, on January 30 and 31 and February 5, 1942, with Richard Burgin conducting and Cleora Wood as soloist. It was Burgin who then conducted the first complete BSO performances of Mahler’s Fourth, on March 23 and 24, 1945, with soprano Mona Paulee, subsequent Boston Symphony performances being given by with Desi Halban; Burgin with Anne English, Nancy Carr, and Virginia Babikian; Erich Leinsdorf with Anne Elgar; with Judith Raskin; Klaus Tennstedt with Phyllis Bryn-Julson; André Previn with Kathleen Battle; Seiji Ozawa with Frederica von Stade, Battle, Roberta Alexander, Christine Schäfer, and Barbara Bonney; Previn with von Stade; with Dawn Upshaw; Bernard Haitink with Ana Maria Martinez; James Levine with Heidi Grant Murphy and Renée Fleming; Mark Wigglesworth with Juliane Banse; Juanjo Mena with Hei-Kyung Hong; Bernard Haitink with Camilla Tilling; and Andris Nelsons with Kristine Opolais (the most recent subscription performances, in May 2017, followed by the BSO’s most recent Tanglewood performance on July 9, 2017, though Giancarlo Guerrero led a more recent performance there this past summer, on August 18, 2019, with the Tanglewood Music Center Orchestra and TMC Vocal Fellow Elena Villalón as soloist).

week 9 program notes 51 GUSTAV MAHLER Symphony No. 4 (Finale)

das himmlische leben life in heaven

Wir geniessen die himmlischen Freuden, We enjoy the pleasures of Heaven D’rum thun wir das Irdische meiden. And therefore avoid earthly ones. Kein weltlich’ Getümmel No worldly tumult Hört man nicht im Himmel! Is to be heard in Heaven. Lebt Alles in sanftester Ruh’! All live in gentlest peace. Wir führen ein englisches Leben! We lead angelic lives, Sind dennoch ganz lustig daneben! Yet have a merry time of it besides. Wir tanzen und springen, We dance and we spring, Wir hüpfen und singen! We skip and we sing. Sanct Peter im Himmel sieht zu! Saint Peter in Heaven looks on. Johannes das Lämmlein auslasset, John lets the little lamb out, Der Metzger Herodes drauf passet! And Herod the Butcher lies in wait for it. Wir führen ein geduldig’s, We lead a patient,

From the autograph manuscript of Mahler’s Fourth Symphony, last movement; the line of text on the third, notated staff from the bottom reads, “Sankt Peter im Himmel sieht zu!”

52 Unschuldig’s, geduldig’s, Innocent, patient, Ein liebliches Lämmlein zu Tod! Dear little lamb to its death. Sanct Lucas den Ochsen thät schlachten Saint Luke slaughters the ox Ohn’ einig’s Bedenken und Achten, Without any thought or concern. Der Wein kost kein Heller Wine doesn’t cost a penny Im himmlischen Keller, In the heavenly cellars. Die Englein, die backen das Brot. The angels bake the bread. Gut’ Kräuter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten! Grow in the heavenly vegetable patch. Gut’ Spargel, Fisolen Good asparagus, string beans, Und was wir nur wollen! And whatever we want! Ganze Schüsseln voll sind uns bereit! Whole dishfuls are set out for us! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, good pears, and good grapes, Die Gärtner, die Alles erlauben! And gardeners who allow everything! Willst Rehbock, willst Hasen, If you want venison or hare, Auf offener Strassen sie laufen You’ll find them running on the herbei. public streets. Sollt ein Fasttag etwa kommen Should a fast-day come along, Alle Fische gleich mit Freuden All the fishes at once come swimming angeschwommen! with joy. Dort läuft schon Sanct Peter There goes Saint Peter, running Mit Netz und mit Köder With his net and his bait Zum himmlischen Weiher hinein. To the heavenly pond. Sanct Martha die Köchin muss sein. Saint Martha shall be the cook. Kein Musik ist ja nicht auf Erden, There is just no music on earth Die uns’rer verglichen kann werden. That can compare to ours. Elftausend Jungfrauen Even the eleven thousand virgins Zu tanzen sich trauen! Venture to dance, Sanct Ursula selbst dazu lacht! And Saint Ursula herself has to laugh. Cäcilia mit ihren Verwandten Cecilia and all her relations Sind treffliche Hofmusikanten! Make excellent court musicians. Die englischen Stimmen The angelic voices Ermuntern die Sinnen! Gladden our senses, Dass Alles für Freuden erwacht. So that all awake for joy.

From “Des Knaben Wunderhorn” Translation by Michael Steinberg

week 9 text and translation 53

To Read and Hear More...

Biographies of Grieg include Finn Benestad’s Edvard Grieg: The Man and the Artist (trans- lated into English by Norwegian music specialist William H. Halverson; University of Nebraska Press), Henry Theophilus Finck’s Edvard Grieg (BiblioLife hardcover or Biblio- Bazaar paperback), and John Horton’s Grieg in the “Master Musicians” series (Littlefield paperback). The Grieg entry in the 2001 Grove is by John Horton and Nils Grinde, expanded from their entry in the 1980 Grove. Also of interest are two English-language compilations, edited by Finn Benestad and translated by the aforementioned William H. Halverson—Edvard Grieg: Letters to Colleagues and Friends and Edvard Grieg: Diaries, Articles, Speeches (both Peer Gynt Press). Gerald Abraham’s Grieg: A Symposium, pub- lished in 1948, was for many years a standard source of information about the composer (out of print).

Leif Ove Andsnes recorded Grieg’s Piano Concerto with conducting the Berlin Philharmonic (Warner Classics). The Boston Symphony Orchestra recorded it in 1980 with pianist and conductor Colin Davis (Philips). Other recordings of varying vintage, listed alphabetically by soloist, include Jean-Efflam Bavouzet’s with Edward Gardner and the Bergen Philharmonic Orchestra (Chandos), Van Cliburn’s with and the (RCA), Leon Fleisher’s with and the (Sony), Stephen Kovacevich’s with Colin Davis and the BBC Symphony Orchestra (Philips), Nelson Freire’s with Rudolf Kempe and the Munich Philharmonic (Sony), ’s with Colin Davis and the Bavarian Radio Symphony Orchestra (Sony), and ’s with Ormandy and the Philadelphia Orchestra (RCA). Of historic interest is the 1947 recording by the great Romanian pianist (who died at thirty-three of leukemia in 1950), with and the (Warner Classics; originally EMI).

Deryck Cooke’s Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer’s works (Cambridge University paperback). Other good starting points include Jonathan Carr’s Mahler (Overlook Press), Peter Franklin’s The life of Mahler in the series “Musical lives” (Cambridge paperback), and Michael Kennedy’s Mahler in the “Master Musicians” series (Oxford paperback). There are two big, multi-volume biographies of the composer, one by Henry-Louis de La Grange (Oxford), the other by Donald Mitchell (University of California). A good single-volume biography—though still by no means small—is Gustav Mahler by Jens Malte Fischer, translated by Stewart

week 9 read and hear more 55 “First Republic understands our legacy and our bold aspirations. We defi ne the goal, and they help us get there.”

AMERICAN BALLET THEATRE Kara Medoff Barnett, Executive Director

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER Spencer (Yale University paperback). Useful essay collections devoted to Mahler’s life, works, and milieu include The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson (Oxford), Mahler and his World, edited by Karen Painter (Princeton University paperback), and The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Mahler by Stephen Johnson (Oxford paperback). The late Mahler enthusiast and con- ductor Gilbert Kaplan saw to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Also published by The Kaplan Foundation are Mahler’s Concerts by Knud Martner, which offers a detailed history of Mahler on the podium, including music per- formed, soloists, concert halls, etc., for each of more than 300 concerts (co-published with Overlook Press), and Mahler Discography, edited by Péter Fülöp, which remains valuable to anyone interested in Mahler recordings, despite its 1995 publication date. Michael Steinberg’s program notes on Mahler’s symphonies 1 through 10 are in his com- pilation volume The Symphony–A Listener’s Guide (Oxford paperback). Alma Mahler’s autobiography And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) provide important if neces- sarily subjective source materials. Knud Martner’s Gustav Mahler: Selected Letters offers a useful volume of correspondence, including all of the letters published in Alma’s earlier collection (Farrar, Straus and Giroux). Though now more than forty years old, Kurt

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week 9 read and hear more 57 HOPE & HARMONY Breast cancer benefit concert with SIR SIMON RATTLE

Join us for an unforgettable evening & a worthy cause! Flutist (& survivor) Julie Scolnik, Mistral’s founder & artistic director, has gathered an all-star orchestra drawn from members of the BSO, Philadelphia Orchestra, Metropolitan Opera Orchestra & others, to raise funds to support underserved women fighting breast cancer. Mozart, Beethoven, Brahms

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58 Blaukopf’s extensively illustrated Mahler: A Documentary Study remains well worth seek- ing from second-hand sources (Oxford University Press).

The Boston Symphony Orchestra recorded Mahler’s Symphony No. 4 in 1987 with soloist as part of its complete Mahler cycle under Seiji Ozawa (Philips). Other recordings include (listed alphabetically by conductor) ’s with the Cleveland Orchestra and Juliane Banse (Deutsche Grammophon), Bernard Haitink’s with the Royal Concertgebouw Orchestra of Amsterdam and Christine Schäfer (RCO Live), ’s with the Pittsburgh Symphony Orchestra and Sunhae Im (Exton), James Levine’s with the Chicago Symphony Orchestra and Judith Blegen (RCA), George Szell’s with the Cleveland Orchestra and Judith Raskin (Sony), Klaus Tennstedt’s with the London Philharmonic and Lucia Popp (EMI), ’s with the San Francisco Symphony and Laura Claycomb (San Francisco Symphony), and Benjamin Zander’s with the Philharmonia Orchestra and Camilla Tilling (Telarc). Among historic issues are two led by Bruno Walter: the very first commercial recording of the work, from 1945 with the New York Philharmonic and soprano Desi Halban (Sony), and a live performance from Walter’s 1960 farewell concert in Vienna, with the Vienna Philharmonic and solo- ist (Music & Arts). Of special interest are an engrossing 1961 concert performance from that year’s Edinburgh Festival with con- ducting the London Symphony Orchestra with soprano Joan Carlyle (BBC Legends) and ’s 1939 concert performance with the Concertgebouw Orchestra of Amsterdam and soloist Jo Vincent (various CD reissues).

Finally, and also of special interest, an extraordinary document in sound: in November 1905, Mahler “recorded” four pieces of his music on piano rolls for the Welte-Mignon player-piano system, including piano transcriptions of “Das himmlische Leben” (the finale of the Fourth Symphony), “Ging heut’ morgen übers Feld” from his Songs of a Wayfarer, his early song “Ich ging mit Lust durch einen grünen Wald,” and the first movement of his Symphony No. 5. These can be heard on a compact disc produced by Gilbert Kaplan for Golden Legacy Recorded Music, “Mahler Plays Mahler: The Welte- Mignon Piano Rolls” (originally on IMP Classics). Also included are repetitions of the first three pieces with the vocal lines performed by present-day singers Yvonne Kenny and Claudine Carlson, in the belief that Mahler may have intended the piano rolls to be used for practice by singers. The disc is filled out with a half-hour oral history, “Remembering Mahler,” incorporating reminiscences taped in the early 1960s by people associated with the composer, including the composer’s daughter Anna and musicians who played under him in Vienna and New York.

Marc Mandel

week 9 read and hear more 59 Proud to support the Boston Symphony Orchestra Guest Artists

Leif Ove Andsnes

Norwegian pianist Leif Ove Andsnes has won wide acclaim, playing concertos and recitals in the world’s leading concert halls and with its foremost orchestras, as well as building an esteemed, extensive discography. He is the founding director of the Rosendal Chamber Music Festival, was co-artistic director of the Risør Festival of Chamber Music for nearly two decades, and has also served as music director of California’s Ojai Music Festival. A inductee, he holds honorary doctorates from Norway’s Uni- versity of Bergen and New York’s . Mr. Andsnes and the Mahler Chamber Orchestra, following the success of their “Beethoven Journey” collaboration, have reunited for another major, multi-season project: “Mozart Momentum 1785/86.” This season they focus primarily on the composer’s piano concertos 20, 21, and 22, which Mr. Andsnes will also perform with the Berlin Philharmonic, San Francisco Symphony, St. Paul Chamber Orchestra, and Oslo Philharmonic, as well as with the Gothenburg Symphony, where he is the 2019-20 artist-in-residence. A highlight of his Gothenburg residency is Grieg’s Piano Concerto, which he reprises with the Boston Symphony, Chicago Symphony, the NDR Elbphilharmonie, and the philharmonic orchestras of St. Petersburg, Oslo, and Bergen. In recital, he joins Matthias Goerne for Schumann Lieder at Milan’s La Scala and tours Europe with a solo program of Dvoˇrák, Bartók, and Schumann. Now recording exclusively for Sony Classics, which released acclaimed recordings from his “Beethoven Journey” project,

week 9 guest artists 61 There’s nothing like a well-staged house.

Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com Mr. Andsnes recently received his ninth Grammy nomination and has been recognized with no fewer than six Gramophone Awards. His other accolades include the Royal Phil- harmonic Society’s Instrumentalist Award, the Gilmore Artist Award, and Norway’s Peer Gynt Prize and Commander of the Royal Norwegian Order of St. Olav. He has been honored as a New York Philharmonic artist-in-residence, as the first Scandinavian to curate Carnegie Hall’s “Perspectives” series, and as the subject of a London Symphony Orchestra “Artist Portrait” series. Mr. Andsnes was born in Karmøy, Norway, in 1970 and studied at the Bergen Music Conservatory. He is currently an artistic adviser for the Prof. Jirí Hlinka Piano Academy in Bergen, where he lives with his partner and their three children. Leif Ove Andsnes made his Boston Symphony debut in July 1996 at Tanglewood with Beetho- ven’s Piano Concerto No. 2, followed by his BSO subscription series debut in March 1997 with Mozart’s D minor piano concerto, K.466. His subsequent appearances at Tangle- wood and Symphony Hall have encompassed performances of Schumann’s Piano Concerto, Rachmaninoff’s Piano Concerto No. 2, Beethoven’s Piano Concerto No. 3 (his most recent Tanglewood performance, in August 2009), Beethoven’s Piano Concerto No. 1, and Rachmaninoff’s Piano Concerto No. 4 (his most recent subscription performances, in May 2017).

Genia Kühmeier

Making her Boston Symphony debut this week, Salzburg-born soprano Genia Kühmeier began her international career at La Scala in Milan, since which time she has been a fre- quent guest at such prestigious houses and festivals as the Salzburg Festival, Theater an der Wien, Royal Opera House–Covent Garden, Metropolitan Opera, Opéra Bastille, Bayerische Staatsoper Munich, and Semperoper Dresden. Ms. Kühmeier has shifted the main focus of her artistic endeavors to the concert stage, becoming one of today’s most sought-after concert singers. Her recent performances have included Beethoven’s Ninth Symphony with the Gewandhausorchester Leipzig, Mass in C Minor with the Bavarian Radio Symphony Orchestra, and Missa Solemnis at the Elbphilharmonie under Thomas

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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 Hengelbrock; Brahms’s Ein deutsches at the Salzburg Pentecost Festival; Haydn’s Die Schöpfung in Madrid and at La Scala; Mahler’s Second Symphony, both in Copenhagen under Mariss Jansons and at the Accademia Nazionale di Santa Cecilia with Mikko Franck; Mahler’s Fourth Symphony with the Munich Philharmonic under Valery Gergiev in Munich and on tour at Carnegie Hall, Hamburg’s Elbphilharmonie, and the Philharmonie de Paris; Schubert’s Mass in G at the Musikverein in Vienna under ; and Strauss’s Four Last Songs at the Grafenegg Festival as well as with the Orchestre National de Lyon. Current and future projects include numerous concerts in Berlin, Hamburg, Luxemburg, Vienna, Florence, and Osaka, as well as her role debut as Fiordiligi in Così fan tutte at the Vienna State Opera. In addition to those already mentioned, Ms. Kühmeier has worked with such esteemed conductors as Sir Colin Davis, Sir , , Marek Janowski, , Mark Minkowski, Sir Roger Norrington, Seiji Ozawa, Kirill Petrenko, Sir Simon Rattle, and Christian Thielemann.

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week 9 guest artists 65 WHERE EXCELLENCE LIVES

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CHESTNUT HILL, MASSACHUSETTS NEWTON, MASSACHUSETTS Beautifully updated residence in sought-after neighborhood. Gracious home boasts 8,000+ SF of versatile living space. Outstanding renovation including grand living, entertaining Situated on a 26,000+ SF lot with an in-ground pool & courtyard. spaces, 5+ bedrooms, level backyard, and pool. Ward school neighborhood & easy access to Boston & the Pike. $4,480,000 $4,299,000 Represented by: Deborah M. Gordon, Sales Associate Represented by: Deborah M. Gordon, Sales Associate C. 617.974.0404 C. 617.974.0404

KENNEBUNKPORT, MAINE NEEDHAM, MASSACHUSETTS Build a custom dream home in Cape Arundel with direct water Beautiful riverfront with 200+ ft of frontage, leaded glass access and views, 12 rooms, custom kitchen, large windows, 4 windows, reclaimed English Oak woodwork, solarium, grand bedrooms, chef’s kitchen, covered balcony, patio, and porch. living room, kitchen/breakfast room, & 1st floor master suite. $2,990,000 $2,700,000 Represented by: Christian Steppe & Greg Robert, Broker Sales Associates Represented by: Lisa Petrini Bell, Sales Associate C. 207.286.4721 | G. 207.286.4782 C. 508.479.3344

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SUDBURY, MASSACHUSETTS NEWTON, MASSACHUSETTS Exquisite 5-bedroom custom estate set on 5+ acres with un- Classical Colonial Revival with superb updates, period details, matched detail, 14 rooms, custom chef’s kitchen, 2-story family sweeping staircase, wood accents, solarium, cook’s kitchen, 7 room with stone fireplace, plus 12+ car garage. bedrooms, including 3rd floor apartment. $4,000,000 $3,300,000 Represented by: Laura Semple & Beth Hettrich, Sales Associates Represented by: Marsha MacLean, Broker Sales Associate L. 978.831.3766 | B. 978.831.2083 C. 617.697.4378

BOSTON, MASSACHUSETTS BOSTON, MASSACHUSETTS Rare Smart Home Condo in desired concierge building! Oversized Renovated corner penthouse featuring floor-to-ceiling windows, living room, renovated chef’s kitchen, three bedrooms. Views of custom built-ins, 2 bedrooms, cook’s kitchen, private terrace, Boston Common and State House. Deeded Garage Parking. panoramic city views, and 24-hour concierge. $2,699,000 $2,020,000 Represented by: Todd Anzlovar & Joe Sullivan, Sales Associates Represented by: Roberta Orlandino, Sales Associate T. 508.264.2104 | J. 617.733.6138 C. 617.312.1511

COLDWELL BANKER RESIDENTIAL BROKERAGE

The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 19KDS9_NE_8/19 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 Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2) 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 • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie 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 • Mr. and Mrs. Paul M. Montrone • 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 • Anonymous (3)

68 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 • Liliana and Hillel Bachrach • Caroline Dwight Bain ‡ • William I. Bernell ‡ • Estate of Philip and Marion Bianchi • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation / Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • 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 • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • 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 • Wilhelmina 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 ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

week 9 the great benefactors 69 GET LOST.

A service of WGBH

on-air • online • in the app | classicalwcrb.org Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Senior Manager of Choruses • Sarah Funke Donovan, Associate Archivist for Digital Assets • Kimberly Ho, Assistant Manager of Choruses • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardley, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Operations Manager • Nick Squire, Recording Engineer • Christopher Thibdeau, Orchestra Management Office Administrator • Joel Watts, Assistant Audio and Recording Engineer boston pops

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

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 9 administration 71 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Kira Svirskiy, Administrative Assistant, Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Individual Giving Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Senior Individual Giving Officer • Gina Crotty, Individual Giving Officer • Hanna Danziger, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Individual Giving Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Individual Giving Officer • Emily Wivell, Assistant Manager of Planned Giving education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • Katherine Ludington, Tanglewood Venue Rental Manager • John Stanton, Venue and Events Manager 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 • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian

week 9 administration 73 Experience the best of both worlds—immerse yourself in our vibrant 5-day boarding community while spending the weekends at home! For more information visit: WorcesterAcademy.org/ResLife

BUGS BUNNY AT THE SYMPHONY 30TH ANNIVERSARY EDITION DEC 28 AT 3PM & 7:30PM, DEC 29 AT 3PM The world’s favorite classic Looney Tunes, projected on the big screen, while the Boston Pops performs their exhilarating, original Carl Stalling scores LIVE! Conducted by George Daugherty. Created by George Daugherty & David Ka Lik Wong. LOONEY TUNES and all related characters and elements are TM & © Warner Bros. Entertainment Inc. (s19)

74 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Senior Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales Associate Manager • Eugene Ware, Associate Marketing Manager • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator strategy and governance

Emily Fritz-Endres, Assistant Director of Board Administration • Laura Sancken, Board Engagement Officer tanglewood learning institute

Emilio Gonzalez, TLI Program Manager tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director and Dean of Fellows • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 9 administration 75 the symphony is better with friends. make a new one today.

As a music lover, you know how special it is to experience a performance here at Symphony Hall. You can make your BSO experience even more enriching—discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to share the joys of orchestral music with everyone. As a Friend, you ensure a legacy of spectacular performances and a commitment to education and community engagement. enjoy friends-only benefits, including: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive behind-the-scenes 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. Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Susan Price Secretary, Beverly Pieper Co-Chairs, Boston Karen Brown • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Judy Levin Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Lynne Harding boston project leads 2019-20

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Deborah Slater • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry • Guide’s Guide, Audley H. Fuller and Marcia Smithen Cohen • Instrument Playground, Cassidy Roh • Mailings, Steve Butera • Membership Table/Hall Greeters, Andrew Royer • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Sue O’Neill • Tour Guides, Carol Brown

week 9 administration 77 Next Program…

Thursday, November 21, 8pm Friday, November 22, 8pm (“Casual Friday” concert, with introductory comments by a BSO member and no intermission) Saturday, November 23, 8pm Tuesday, November 26, 8pm

andris nelsons conducting

arturs maskats “my river runs to thee...” (homage to emily dickinson) (world premiere; bso co-commission)

tchaikovsky violin concerto in d, opus 35 Allegro moderato—Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo daniel lozakovich

{intermission}

galina grigorjeva “on leaving,” for unaccompanied choir (november 21, 23, and 26 only) tanglewood festival chorus, james burton, conductor

shostakovich symphony no. 2, opus 14, “to october” Largo— Allegro molto tanglewood festival chorus

Continuing their survey and recorded cycle for Deutsche Grammophon of the Shostakovich symphonies, Andris Nelsons leads the BSO in the composer’s rarely heard Symphony No. 2, To October, written to commemorate the tenth anniversary of the Bolshevik Revolution. The final section of this unusual, twenty-minute work is a choral finale on Alexander Bezemensky’s poem “To October,” addressed to Vladimir Lenin. Opening the program is the world premiere of a BSO-commissioned piece by Andris Nelsons’ Latvian compatriot, the esteemed composer Arturs Muskats, who has also been artistic director of Latvian National Opera for more than two decades. Next week’s concerts also bring the BSO subscription series debut of the eighteen-year-old Swedish violinist Daniel Lozakovich in Tchaikovsky’s ever-popular Violin Concerto, and perform- ances of On Leaving, a choral setting of Orthodox prayers for the dead by the Ukraine-born Estonian composer Galina Grigorjeva, whose work is strongly influenced by Slavonic church music.

78 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.

Thursday ‘C’ November 21, 8-10 Thursday 'B' January 2, 8-10:05 Friday Evening November 22, 8-9:10 Friday ‘B’ January 3, 1:30-3:35 (Casual Friday, with introductory comments Saturday ‘B’ January 4, 8-10:05 by a BSO member and no intermission) MARCELO LEHNINGER, conductor Saturday ‘A’ November 23, 8-10 NELSON FREIRE, piano Tuesday ‘C’ November 26, 8-10 BEETHOVEN Overture to The Creatures of ANDRIS NELSONS, conductor Prometheus DANIEL LOZAKOVICH, violin BEETHOVEN Piano Concerto No. 5, Emperor TANGLEWOOD FESTIVAL CHORUS, TCHAIKOVSKY Symphony No. 5 JAMES BURTON, conductor (Grigorjeva and Shostakovich) ARTURS MASKATS “My River runs to thee...” Thursday 'A' January 9, 8-10 (Homage to Emily Dickinson) Friday ‘B’ January 10, 1:30-3:30 (world premiere; BSO Saturday ‘A’ January 11, 8-10 co-commission) Tuesday ‘B’ January 14, 8-10 TCHAIKOVSKY Violin Concerto ALAIN ALTINOGLU GALINA On Leaving, for unaccompanied , conductor GRIGORJEVA choir (November 21, 23, 26) THIERRY ESCAICH, organ SHOSTAKOVICH Symphony No. 2, To October DEBUSSY Suite from Pelléas et Mélisande (arr. Altinoglu) POULENC Concerto for Organ, String Friday ‘A’ November 29, 1:30-3:20 Orchestra, and Timpani Saturday ‘A’ November 30, 8-9:50 SAINT-SAËNS Symphony No. 3 (Organ CHRISTIAN ZACHARIAS, conductor and piano Symphony) BRAHMS Serenade No. 2 SCHUMANN Introduction and Allegro appassionato, for piano and orchestra SCHUMANN Symphony No. 4

The BSO’s 2019-20 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling SymphonyCharge 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 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 9 coming concerts 79 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

GOURMETCATERERS.COM/BSO • BSO.ORG CONCERT 3 2019-20 CHAMBER MUSIC SEASON Mozart x 2

Friday, Jan. 3 at 8:00 in Salem Sunday Jan. 5 at 3:00 in Brookline

Mozart Brookline Sunday Afternoons at 3:00 String Quintet in G minor, K 516 In beautiful St. Paul’s Church Mozart Jan 5 | Mar 15 | Apr 26 String Quintet in E-flat, K 614 Salem Friday Evenings at 8:00 Peter Zazofsky, Bayla Keyes – violins, In historic Hamilton Hall Steven Ansell, Beth Guterman Chu – violas, Jan 3 | Mar 13 | Apr 24 Jonathan Miller – cello

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

2O19/2O20 SEASON

Story Telling ANNUAL FAMILY CONCERT SATURDAY

Christopher Rouse The Infernal Machine DECEMBER 7 Benjamin Britten The Young Person’s Guide to the Orchestra 3PM Joyce Kulhawik, narrator Concerto played by the NEP Young Artist’s Competition Winner BOSTON Bernard HofferLittle Red Riding Hood UNIVERSITY Joyce Kulhawik, narrator TSAI PERFORMANCE CENTER Westborough High School Women’s Chorale, TICKETS ON SALE Alyson Greer Espinosa, conductor NEPHILHARMONIC.ORG Symphony Hall Exit Plan

82 Symphony Hall Information

The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Events 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 4:30 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 p.m. on Saturday). Outside the 617 area code, phone (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 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 the Group Sales Office at (800) 933-4255 or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large-print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscrip- tion ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the

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

week 9 symphony hall information 83 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 Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, 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 (after 2 p.m.) 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. 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 infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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