Week 14 2016–17 Season J.S. Bach Mass in B Minor

2016–17 season andris nelsons music director

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Robert McCloskey, Drawing for Make Way for Ducklings (“There they “Make Way for Ducklings: The Art of Robert McCloskey” is organized by With support from the Jean S. and Frederic A. Sharf waded ashore and waddled along till they came to the highway.”), The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts. Exhibition Fund and the Patricia B. Jacoby Exhibition Fund. 1941. Graphite on paper. Courtesy of The May Massee Collection, Emporia The Museum of Fine Arts, Boston, Media sponsor is State University Special Collections and Archives, Emporia State University. presentation is made possible by Table of Contents | Week 14

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 J.S. Bach’s Mass in B minor 47 To Read and Hear More…

Guest Artists

53 Malin Christensson 55 Christine Rice 57 Benjamin Bruns 59 Hanno Müller-Brachmann 63 Tanglewood Festival Chorus 65 James Burton

68 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke † • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy •

week 14 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire 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 • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London † • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Jeffrey E. Marshall • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Daphne Brooks Prout • 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 • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 14 trustees and overseers 5 OYSTER PERPETUAL SUBMARINER DATE

rolex oyster perpetual and submariner are ® trademarks. BSO News

Free Northeastern University Fenway Center Concerts and Community Chamber Concerts Featuring BSO Musicians The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free Friday-afternoon concerts by BSO members at the Fen- way Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. starting this season with two concerts in February. BSO string players Valeria Vilker Kuchment, Glen Cherry, Danny Kim, and Adam Esbensen perform music of Ravel and Borodin on February 3 (a program also to be performed in the BSO’s Community Chamber Concert of Sunday, February 5, at 3 p.m. at the Saltonstall School in Salem); and BSO flutist Clint Foreman and string players Lucia Lin, Bracha Malkin, Rebecca Gitter, and Owen Young perform music of Arthur Foote, Florence Price, Ginastera, and Ravel on February 10 (a program to be repeated in the Community Chamber Concert of Sunday, February 12, at 3 p.m. at the Huntington YMCA in Boston). Tickets for the Friday-afternoon Fenway Center concerts on February 3 and 10 are available at tickets.neu.edu and at the door. For more information about the Fenway Center concerts, please visit northeastern.edu/camd/ music. Admission to the Sunday-afternoon Community Chamber Concerts on February 5 and 12 is also free, but reservations are required; please call 1-888-266-1200. For complete Community Chamber Concert details, please visit bso.org and go to “Education & Community” on the home page.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” offers the opportunity to increase your enjoyment of Boston Symphony concerts by focusing on upcoming BSO repertoire in sessions that examine the composers’ individual musical styles while also illuminating aspects of musical shape and form. These free sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra take place on selected Wednesdays at Symphony Hall from 5:30-7 p.m. (followed by a free tour of Symphony Hall) and, thanks to the generosity of an anonymous donor, on selected Sunday afternoons from 2-3:30 p.m. at locations throughout the greater Boston area. All of the sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. Remaining sessions this season include “Sibelius & Shostakovich— Individualists Par Excellence” on Wednesday, February 15, in Higginson Hall and Sunday, February 19, at The Arlington Center; “Berlioz & Dutilleux—Journeys in Sound” on Wednes- day, March 15, in Higginson Hall and Sunday, March 19, at Belmont Public Library; and “Mozart & Mahler—Speaking to the Heart” on Sunday, April 9, at Waltham Public Library

week 14 bso news 7 and Wednesday, April 12, in Higginson Hall. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

BSO Concerto Competition Since 1959, the BSO has hosted a concerto competition for high school instrumentalists who are at an advanced level in their musical study. Open to sophomore, junior, and senior high school instrumentalists who reside in Massachusetts, the competition recognizes two first-place winners who perform their concerto with the Boston opsP or with the BSO during a BSO Family Concert. The application deadline for the 2017 BSO Concerto Competition is Wednesday, March 1, 2017. For more information, and to review the application for competition eligibility, please visit www.bso.org/youngmusicians.

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, along with a one-year archive of concert broadcasts. Listeners can also hear the BSO Concert Channel, an online radio station consisting of BSO concert performances from the previous twelve months. Visit classicalwcrb.org/bso. Current and upcoming broadcasts include last week’s program of music by Julian Anderson (a BSO co-commission), Schumann, and Schubert with conductor Juanjo Mena and pianist Jean-Frédéric Neuburger (encore February 6); this week’s performance of Bach’s B minor Mass led by BSO Music Director Andris Nelsons (February 4; encore February 13), and next week’s program of music by Ravel, George Benjamin (a BSO co-commission), and Berlioz featuring countertenor Bejun Mehta and the Lorelei Ensemble with Andris Nelsons conducting (February 11; encore February 20). individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The John F. Bok Memorial Concert, Saturday, February 3, 2017 Old Boston City Hall, Union Wharf, and the current building housing the Boston Chil- Saturday evening’s performance by the Bos- dren’s Museum. He figured out, along with ton Symphony Orchestra has been named his partners, how to accomplish this through by a gift from Joan Bok in memory of her late federal historic rehabilitation tax credits and husband, John Fairfield Bok (1930-2014). other government programs. As he passion- John was a lifelong Boston resident, attor- ately believed in Boston’s remaining a res- ney, and civic leader who helped preserve idential city, he also worked on many large Boston’s history and shape its development. and small housing developments in Boston. He cared deeply about preserving the best of Boston, as the general counsel of the John F. Bok chaired many groups he was Boston Redevelopment Authority under Ed involved with because he was willing to do Logue in the 1960s and then as an attorney the hard work and was skilled at bringing at Csaplar & Bok on such redevelopment people together. The groups of which he projects as Quincy Market, Lewis Wharf, became chairman shaped Boston between

week 14 bso news 9 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 . 1960 and 2000, and included the Boston BSO guest artist at Symphony Hall each Ballet, Boston Children’s Museum, the Boston season. They have generously supported Municipal Research Bureau, the Massachu- the Beyond Measure Campaign with an setts Horticultural Society, Citizen’s Housing additional commitment to the Elfers Fund for and Planning Association, the Boston Harbor Performing Artists, as well as a multi-year Association, Community Builders, and the commitment to the Symphony Annual Fund. Beacon Hill Civic Association. Finally, he They have also endowed several seats in the was a strong believer that keeping Boston a first balcony of Symphony Hall. Additionally, world-class city included actively supporting the couple has supported Opening Nights its great performing arts organizations, such at Symphony for many years, and they have as the Boston Symphony Orchestra. served on the gala’s benefactor committee.

The Deborah and William R. Elfers Go Behind the Scenes: Concert, Saturday, February 4, 2017 The Irving W. and Charlotte F. Rabb Saturday evening’s concert is supported Symphony Hall Tours by a generous gift from Great Benefactors The Irving W. and Charlotte F. Rabb Sympho- William and Deborah Elfers. The Boston ny Hall Tours, named in honor of the Rabbs’ Symphony Orchestra gratefully acknowl- devotion to Symphony Hall through a gift edges Bill and Deborah for their continuing from their children James and Melinda Rabb and devoted support. Longtime subscribers and Betty (Rabb) and Jack Schafer, provide and supporters of the BSO, Bill and Deborah a rare opportunity to go behind the scenes have attended concerts together for more at Symphony Hall. In these free, guided than twenty-five years. Bill was elected to tours, experienced members of the Boston the BSO Board of Overseers in 1996 and the Symphony Association of Volunteers unfold Board of Trustees in 2002. He is currently the history and traditions of the Boston Sym- a member of the Audit Committee. phony Orchestra—its musicians, conductors, and supporters—as well as offer in-depth Deborah’s efforts on the BSO’s behalf include information about the Hall itself. Tours are directing the Business Leadership Associ- offered on selected weekdays at 4 p.m. and ation’s fundraising efforts as a member of some Saturdays during the BSO season. the BSO staff from 1992 to 1995. As a BSO Please visit bso.org/tours for more informa- volunteer, she served on the Annual Giv- tion and to register. ing Committee, chaired the Annual Fund’s Higginson Society dinner, hosted Higginson Society events, and, with other key volun- Planned Gifts for the BSO: teers, collaborated with the Boston Sym- Orchestrate Your Legacy phony Association of Volunteers to involve people in the BSO’s artistic, educational, and There are many creative ways that can let community outreach programs. In addition you support the BSO over the long term. to her work with the orchestra’s board and Planned gifts such as bequest intentions volunteer corps, Deborah sang with the (through your will, personal trust, IRA, or Tanglewood Festival Chorus for several insurance policy), charitable trusts, and gift years. She is a graduate of New England annuities can generate significant benefits for Conservatory of Music, where she studied you now while enabling you to make a larger voice; she now serves as chair of the Con- gift to the BSO than you may have otherwise servatory’s Board of Overseers. thought possible. In many cases, you could realize significant tax savings and secure an Bill and Deborah continue to support the attractive income stream for yourself and/ BSO generously in many ways. In 2002, the or a loved one, all while providing valuable couple endowed the Elfers Fund for Perform- future support for the performances and pro- ing Artists, established in honor of Deborah, grams you care about. When you establish which has supported the appearance of one

week 14 bso news 11 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

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Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. and notify us of your planned gift for the Bos- Joined by flutist Linda Toote, the Muir String ton Symphony Orchestra, you will become a Quartet—BSO violinist Lucia Lin and BSO member of the Walter Piston Society, joining principal violist Steven Ansell, violinist Peter a group of the BSO’s most loyal supporters Zazofsky, and cellist Michael Reynolds— who help to ensure the future of the BSO’s plays a free concert on Monday, February extraordinary performances. Members of the 13, at 8 p.m. at BU’s Tsai Performance Cen- Piston Society—named for Pulitzer Prize-winter, 685 Commonwealth Avenue. On the ning composer and noted musician Walter program are Berg’s String Quartet, Opus Piston, who endowed the Principal Flute 3, Mozart’s Flute Quartet in D, K.285, and Chair with a bequest—are recognized in sev- Dvoˇrák’s String Quartet in G, Opus 106. eral of our publications and offered a variety of exclusive benefits, including invitations to various events in Boston and at Tanglewood. Those Electronic Devices… For more information about planned gift As the presence of smartphones, tablets, options and how to join the Walter Piston and other electronic devices used for com- Society, please contact Jill Ng, Director of munication, note-taking, and photography Planned Giving and Senior Major Gifts Offi- has increased, there have also been continu- cer, at (617) 638-9274 or [email protected]. We ing expressions of concern from concertgoers would be delighted to help you orchestrate and musicians who find themselves distracted your legacy with the BSO. not only by the illuminated screens on these devices, but also by the physical movements that accompany their use. For this reason, BSO Members in Concert and as a courtesy both to those on stage and BSO Assistant Conductor Ken-David Masur those around you, we respectfully request leads the New Philharmonia Orchestra in “A that all such electronic devices be completely Musical Valentine” on Sunday, February 12, turned off and kept from view while BSO per- at 3 p.m. at the First Baptist Church, 848 formances are in progress. In addition, please Beacon Street, Newton Centre. The program also keep in mind that taking pictures of the includes Schumann’s Piano Concerto with orchestra—whether photographs or videos— Melinda Lee Masur as soloist and Tchaikov- is prohibited during concerts. Thank you very sky’s Romeo and Juliet. Tickets are $25 (dis- much for your cooperation. counts for seniors, students, and families); $100 for sponsor premium seating. For more information, or to order tickets, call Comings and Goings... (617) 527-9717 or visit newphil.org. Please note that latecomers will be seated by the patron service staff during the first The Walden Chamber Players, whose mem- convenient pause in the program. In addition, bership includes BSO musicians Tatiana please also note that patrons who leave the Dimitriades and Alexander Velinzon, violins, auditorium during the performance will not and Richard Ranti, bassoon, perform music be allowed to reenter until the next conve- of Haydn, John Harbison, Glière, and Brahms nientpause in the program, so as not to dis- on Sunday, February 12, at 4 p.m. at Wilson turb the performers or other audience mem- Chapel, 210 Herrick Road, Newton Centre. bers while the music is in progress. We thank Tickets are $20 for adults ($10 for students; you for your cooperation in this matter. children under twelve free), available at the door or at waldenchamberplayers.org. For more information, call (617) 871-9WCP [-9927] or email [email protected].

week 14 bso news 13 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

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on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO

exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by Leonard Bernstein, Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 14 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

16 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig.

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 principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 14 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

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

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Instruments from the BSO’s Casadesus Collection of Historic Instruments are on view in display cases in the Cohen Wing of Symphony Hall: in the corridor near the Symphony Shop, in Higginson Hall, and in the Miller Room across from the Symphony Shop.

The musicians of the Boston Symphony Orchestra are required by contract to use “the best instrument available” to them; and so it is, that when you hear the BSO in concert, the sound is one of tens of millions of dollars of wood, brass, and leather working together in remarkable unity.

But it is not only the BSO players themselves who possess extraordinary instruments. There are other instruments in Symphony Hall—long silent and now rarely played—that are ancestors of today’s modern symphony orchestra, and which provide both interest and inspiration to musicians and concertgoers alike.

The Boston Symphony’s legendary music director, Serge Koussevitzky, though born in Russia, made his early reputation in Paris both as a conductor and performer on the double bass. While in Paris, Koussevitzky met Henri Casadesus, who, along with Camille Saint-Säens, founded the Société des Instruments Anciens in 1901. An accom- plished viola player and composer, Casadesus began collecting historical instruments around 1896 and, in time, amassed an impressive collection of instruments—string, woodwind, brass, and percussion. His Société gave concerts in Europe, Britain, and Russia (where Koussevitzky joined the group), as well as in Boston’s Symphony Hall in 1918. When Casadesus decided to consolidate his collection and put many of his instruments up for sale in 1926, Koussevitzky lobbied for his friend’s collection to come to Boston:

School children with instruments of the Casadesus Collection, c.1955

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For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Serge Koussevitzky with an 18th-century bass viol from the Casadesus Collection (BSO Archives)

Our great orchestra leader, Serge Koussevitzky, the intimate friend of Henri Casadesus, knew for a long time these artistic riches and it is upon his initiative and discerning counsel that the committee was formed which has acquired this collection.*

A group of Boston Symphony supporters subsequently purchased 145 instruments from Casadesus’ collection and donated them to the Boston Symphony Orchestra. The group’s spokesman, N. Penrose Hallowell, made the proposal to Frederick P. Cabot, President of the Boston Symphony Board of Trustees, on March 10, 1926: Certain individuals have agreed to buy what is known as the Henri Casadesus collection of musical instruments. It comprises between 110 and 120 [actually 145 in all] pieces and is considered by experts to be an unusually fine collection. These individuals, together with others who will be asked to subscribe, are glad to offer this collection to the Trustees of the Boston Symphony Orchestra in memory of [BSO founder] Major Henry L. Higginson on the understanding that the Trustees will give suitable space for it in Symphony Hall and will take measures to make it as easy as possible for music lovers to view the collection.

The donation was accepted and the instruments shipped to Boston. No record has been found detailing the price paid for the collection, but an appraisal done at the time

* A Rare Collection of Old Musical Instruments: The Casadesus Collection, Given by Friends to the Boston Symphony Orchestra in Loving Memory of its Founder, Henry Lee Higginson (Boston: Symphony Hall, November 13, 1926), p.7.

week 14 23

Henri Casadesus with his daughter Gisèle at Casadesus’ home, c.1920

they arrived in Boston estimated their value at $37,965 (approximately $500,000 in today’s currency). On October 23, 1926, Casadesus’ instruments, having been installed in cases in a room off the first balcony of Symphony Hall (the location of the current Management Office), were displayed to the public. TheBoston Sunday Post of October 24, 1926, reported the opening of the display: A group of Boston citizens, yesterday morning, presented to the Boston Symphony Orchestra in memory of its founder, Major Henry L. Higginson, a collection of old musical instruments, which is generally considered the finest exhibit of its kind in existence. These rare instruments were acquired from Henri Casadesus, celebrated French musician, who has devoted many years of his life to gathering together musical instruments of former times. M. Casadesus visited this country in 1918 with his Society of Ancient Instruments, and performed early chamber music at Symphony Hall and elsewhere. Mr. Koussevitzky has for many years been a close friend of the collector. In fact, it was on the Russian conductor’s recommendation that this exhibit was acquired last spring. The collection, mounted in glass cases, has been placed in a room especially con- structed for this purpose in the corridor of the first balcony of Symphony Hall. It will be open to inspection by all concert audiences.

In the decades following, the collection was moved from its initial installation to the players’ tuning room (out of public view) off stage-right and subsequently into storage. Since 1990, with the renovation of a then recently acquired building adjacent to Symphony Hall, instruments from the Casadesus Collection have been installed in seven display cases in Symphony Hall’s Cohen Wing: four cases are in the corridor near the Symphony

week 14 25 Shop, two cases are in Higginson Hall, and one case is in the Miller Room across from the shop. Since the gift of the Casadesus Collection in 1926, other historical instruments have been donated to the Boston Symphony, and some of these are also on display, including the Barnett Collection (comprising mostly Asian instruments, in the Miller Room) and several instruments that were collected on various Boston Symphony tours, including a Chinese pipa that came to Symphony Hall as a result of the BSO’s historic tour to China in 1979. Three instruments from the Casadesus Collection are on loan to, and on display at, the Museum of Fine Arts, Boston.

The BSO historical instrument collection contains some notable treasures. Taking pride of place is an extraordinary group of seven serpents—the ancient instrument invented in France in the 16th century to accompany chant in the church, and which found its way into military bands and the symphony orchestra during its long evolutionary jour- ney to today’s tuba; among these is a rare specimen by Pelligrino d’Azzi that features the coat of arms of the Republic of Venice. Among the finest and best-preserved string instruments in the collection are two handsome Italian mandolins from the late 1700s. A walking stick flute by Stengel conjures up images of gentlemen pausing during a stroll to entertain an ad hoc audience. Two French horns with painted bells remind us of the challenges that faced players before modern times when they had to change crooks (coils of tubing that needed to be inserted into the instrument in order to pro- duce notes in different keys) before the invention of valves. The Barnett Collection’s instruments from Asia and the Middle East show the fragile construction and use of exotic materials that result in unique sounds far removed from our Western symphonic tradition. The collection is under the care of the BSO Archives; Darcy Kuronen— Pappalardo Curator of Musical Instruments at the Museum of Fine Arts—provides curatorial support.

Instruments from the Casadesus Collection have not been used in Boston Symphony performances, but a few that are still in playing condition have occasionally been

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26 Patricia Crandall Collection George Humphrey/courtesy BSO Archives,

Isaac Stern with the dance master’s violin (“pochette”) from the Casadesus Collection

used by BSO players and staff in various contexts. In the 1950s, three members of the orchestra (Roger Voisin, Harold Meek, and Joseph Orosz) recorded selected instruments from the collection on the LP record set “Spotlight on Brass.” BSO staff member Laning Humphrey and lifelong volunteer Patricia Crandall enthusiastically displayed and discussed instruments for audiences of both adults and children in association with Boston Symphony Youth Concerts, and the instruments continue to be studied and enjoyed by concertgoers, students, and scholars. In this, the instruments of the Casadesus Collection continue to fulfill the words of the Boston Symphony Trustees at the dedication ceremony of the collection on October 23, 1926: The sounds of that earlier time are stilled. But the art they embodied finds constant utterance in old strains re-awakened, in new rhythms breaking the silence of the future.

douglas yeo was bass trombonist of the Boston Symphony Orchestra from 1985 to 2012 and Professor of Trombone at Arizona State University from 2012 to 2016. His latest book is “The One Hundred: Essential Works for the Symphonic Bass Trombonist.” He has performed on historical instruments including serpent and ophicleide with the BSO and many early instrument groups, and his playing is heard on museum audio and video guides around the world.

week 14 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 136th season, 2016–2017

Thursday, February 2, 8pm | sponsored by delta air lines Friday, February 3, 8pm Saturday, February 4, 8pm | the deborah and william r. elfers concert Tuesday, February 7, 8pm

andris nelsons conducting

bach mass in b minor, bwv 232 I. Missa Kyrie Gloria

{intermission}

Bach’s autograph manuscript of the first page of the Symbolum Nicenum (Credo)

28 II. Symbolum Nicenum (Credo) III. Sanctus IV. Osanna, Benedictus, Agnus Dei, et Dona nobis pacem Osanna¬Benedictus¬Osanna Agnus Dei Dona nobis pacem malin christensson, soprano christine rice, mezzo-soprano benjamin bruns, tenor hanno müller-brachmann, bass-baritone tanglewood festival chorus, james burton, guest chorus conductor Text and translation begin on page 49.

thursday evening’s performance by the guest artists and this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. saturday evening’s performance by the boston symphony orchestra has been named by a gift from joan bok in memory of john f. bok. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

These concerts will end about 10:25. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1778 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1775 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, 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 orchestra—whether photographs or videos—is prohibited during concerts.

week 14 program 29 The Program in Brief...

J.S. Bach’s Mass in B minor was a product of many years and stages of effort on the composer’s part. He composed a version of the Sanctus for Christmas 1724, in his first years in Leipzig, and the Missa—that is, the Kyrie and Gloria movements—in 1733. Beginning in the mid-1740s, in the last few years of his life, he seems to have made a decision to complete the setting; parts of it were the last compositions he finished before his death in 1750. In any event, the work was not performed in full during Bach’s lifetime, and as far as we know the first complete public performance was not given until more than a century after his death. Even so, Bach’s son C.P.E. Bach (who referred to it as “the Great Catholic Mass”) made the score available to other composers for study in the second half of the 1700s, and it achieved a reputation as one of the great works of music history by the first part of the 19th century—long before it was even published.

The Mass is mostly scored for five-part chorus—two soprano parts, alto, tenor, and bass—though in some places the parts are reduced to four; in the Sanctus, there are six parts (SSAATB); and in the Osanna, there are two four-part choruses. There are also arias and duets for the solo voices. In such an expansive work, contrast between sections is of great importance. Bach effects this through various means. For example, the long opening orchestral introduction of the Kyrie contrasts with the succeeding fugal presentation of the word “Kyrie” by the chorus; the ensuing Christe passage is an extended duet between two solo sopranos, accompanied only by violins and continuo. Fugal textures—highly structured music in imitative counterpoint—are frequently con- trasted with more chordal, chorale-like passages. Each appearance of solo voices calls for a different instrumental combination: the “Laudamus” solo soprano aria is accompanied by orchestra with solo violin, the “Quoniam tu solus” bass aria features a solo horn, and so forth. This is in keeping with Bach’s practice in other large-scale works, such as the St. Matthew Passion.

That Bach, a Lutheran, composed a complete setting of the Ordinary of the Roman Catholic Mass at all has been cause for much scholarly speculation. One compelling argument was his tendency to work almost obsessively through the most important traditional and current musical genres (except opera, which he never attempted). The encyclopedia-like Well-Tempered Clavier, Art of the Fugue, and Brandenburg concertos are examples of this tendency. Given the length and complexity of the B minor Mass, it’s highly unlikely that Bach conceived it to be performed as part of a liturgical service. Its length and musical argument prefigure the musical genre of the Missa Solemnis, of which the most famous is Beethoven’s superlative example.

Robert Kirzinger

30 Johann Sebastian Bach Mass in B minor, BWV 232

JOHANN SEBASTIAN BACH was born in Eisenach, Thuringia, on March 21, 1685, and died in Leipzig on July 28, 1750. The various sections of the B minor Mass were composed over an extended period of time and compiled into a single manuscript only near the end of Bach’s life, in 1748-49, as discussed below. There is no record of a complete performance in the composer’s lifetime; details of some early European performances are also given below.

THE SCORE OF THE B MINOR MASS calls for a five-part vocal ensemble (soprano I and II, alto, tenor, and bass) for most of the work, four parts in a few movements, six in the Sanctus, and eight (i.e., double chorus) in the Osanna; five soloists (two sopranos, alto, tenor, and bass); and an orchestra of two transverse flutes, three oboes, two oboes d’amore, two bassoons, three trumpets, one horn (specified as “corno da caccia”), timpani, strings, and continuo. Nowadays the three solo parts for female voices are typically divided between two soloists (soprano and mezzo- soprano). Given their different vocal ranges, it is also not unusual to find the two arias for low voice assigned to separate soloists (“Quoniam tu solus sanctus” in the Gloria being taken by bass and the higher-lying “Et in spiritum sanctum” in the Credo being taken by baritone). The continuo organist in these performances is James David Christie.

GENERAL BACKGROUND Present evidence suggests that J.S. Bach’s Mass in B minor as we know it dates from the years 1748-49, at which time Bach compiled into a single manuscript an extended musical setting of the entire Ordinary of the Roman Catholic Mass. This is not to say, however, that he composed his entire setting of the Mass at that time; in fact, we know that several portions of the work date from earlier periods of his life. The Kyrie and Gloria were sent by Bach to Dresden in July 1733 as part of his application for the position of court composer there. Though there is an early version of the Credo (or Symbolum Nicenum) from the early 1740s, the version in the B minor Mass dates from Bach’s last years, the “Et incarnatus” being perhaps the last vocal composition he ever finished. The Sanctus—the third main section of the full Mass score—derives from a setting by Bach for a 1724 Christmas service; this is the oldest section of the B minor

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32 Mass. And the final division of the score—the Osanna, Benedictus, Agnus Dei, and Dona nobis pacem—represents a combination of, on the one hand, freshly composed music and, on the other, music “parodied,” which is to say, reworked, from pieces Bach had written earlier in his lifetime. In addition, various portions of the score’s first three divisions were adapted from single movements of cantatas and, in certain instances, perhaps even from purely instrumental works.

So, again, the compilation by Bach of the entire Mass setting does not mean that he actually composed the whole work at one time. Nor does it suggest that he meant it to be performed as a whole in the course of the church service; its length and elaborate nature seem to argue against that, in which respect it is often compared to Beethoven’s Missa Solemnis.

Another line of argument against viewing Bach’s work as one meant for unified performance derives from certain differences between the Roman Catholic Mass usage and the Lutheran Church liturgy of Bach’s time. For one thing, the Kyrie-Gloria complex (the “Missa”) is all that would have been set for a typical Lutheran service in Bach’s own church. Other portions of the Mass—the Symbolum Nicenum and Sanctus, for example—would only have been given an elaborate setting for voices and instruments on a special occasion. Further, the Osanna and Benedictus, which follow the Sanctus in the Roman Catholic service, have no corresponding place in Lutheran usage. (In Bach’s manuscript, the Osanna and Benedictus begin the fourth and final division of the score and so are separated from the Sanctus, which itself makes up the score’s third section.)

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week 14 program notes 33 Program page for the first Boston Symphony performance of Bach’s B minor Mass on March 24, 1931, Serge Koussevitzky conducting, with the Harvard Glee Club, Radcliffe Choral Society, and soloists Amy Evans, Margaret Matzenauer, Richard Crooks, and Fraser Gange—the opening performance of a week-long Bach Festival (BSO Archives; see also opposite page)

34 Title page for the BSO’s Bach Festival of March 24-29, 1931, honoring the orchestra’s founder Henry Lee Higginson during the BSO’s 50th season (BSO Archives)

As all of this might suggest, historical, liturgical, and musicological considerations have led to several theories about the origin and intent of Bach’s B minor Mass. One theory views the work merely as a collection of pieces that happen to set individual portions of the service to music. Another theory holds that Bach did ultimately mean to assemble a complete musical setting of the Roman Catholic Mass Ordinary, as so many composers had done before him. (From this point of view, his division of the score may be no more than an indication of the regrouping of the choral and instrumental forces within the piece.) There is also the view that Bach, near the end of his life, was concerned with leaving a legacy that reflected the state of his art and therefore fashioned several works—the Mass in B minor, the Art of Fugue, and A Musical Offering among them— that served to codify the musical styles in which he wrote. And there is no doubt that his great collection of Mass movements, with its music for solo voices, chorus, and orchestra in a variety of combinations and relationships, achieves this purpose. As Christoph Wolff observed in the 2001 New Grove Dictionary of Music and Musicians, “In assembling the whole score in 1748-9...the composer undoubtedly had the inten- tion of making it a comprehensive work of consistent quality.”

Bach never heard a complete performance of his Mass in B minor; in fact, he never gave the collective work an all-embracing title. We know that Haydn owned a copy of the score, and that Beethoven twice tried to get one. A partial performance of the Credo (through the “Et resurrexit,” with an orchestra lacking trumpets and oboes) took place in Berlin in 1828. The first complete performance of the Credo took place in 1786, in

week 14 program notes 35 ONE DAY UNIVERSITY® at Tanglewood register Sunday, August 27, 2017 today! at general registration: $159 One Day University, the acclaimed lifelong learning series, returns to Tanglewood for its seventh season. Join three award-winning event schedule for august professors as they each present their best lecture in Ozawa Hall. 27, 2017 Then join Andris Nelsons and the BSO for the 2017 season finale

• lectures take place in ozawa hall • performance of Beethoven’s Ninth Symphony. 9:30–9:35 am Introduction 9:35–10:35 am LOUIS MASUR, Understanding America Through Three Remarkable Photographs Rutgers University Louis Masur, Distinguished Professor of American Studies and History Rutgers University 10:35–10:45 am Break From its introduction in 1839, photography has transformed the ways in 10:45–11:45 am JEFFREY ROSEN, which we see the world. Photographs capture events and also transform them; George Washington they depict reality but tell a story. Professor Masur will examine the historical University context and content of three powerful images that have shaped American Break society and culture: Joe Rosenthal’s Flag Raising on Mt. Suribachi (1945); 11:45 am–12 pm Stanley Forman’s Pulitzer Prize-winning The Soiling of Old Glory (1976) and 12 pm–1 pm CRAIG WRIGHT, Thomas Franklin’s Raising the Flag at Ground Zero (2001). Yale University The Supreme Court: An Inside View • koussevitzky music shed • Jeffrey Rosen, Professor of Law, George Washington University 2:30 pm President, National Constitution Center Boston Symphony Orchestra Beginning in 1802 with the Landmark case with Marbury v. Madison, the Andris Nelsons, conductor Supreme Court has ruled on groundbreaking cases that have altered the course Katie Van Kooten, soprano of American history. Professor Rosen, one of the top experts on Constitutional Tamara Mumford, mezzo-soprano issues, will take us inside the Supreme Court, exposing little known facts and Russell Thomas, tenor covering the Court’s history, structure, and operation. Professor Rosen will John Relyea, bass-baritone also highlight major cases, where the Court might be headed next, and how IVES “The Housatonic at Stockbridge” from the interactions and personalities of the individual justices have created the Three Places in New England institution that we know today. BEETHOVEN Symphony No. 9

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*One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. One Day University is a federally registered trademark of Educational Media LLC. It is not a degree granting institution and its programs are not offered for credit. Carl Friedrich Zelter (1758-1832), who read through the B minor Mass with the Berlin Singakadamie in 1811-12

Hamburg, in a benefit concert under the direction of C.P.E. Bach, into whose possession the autograph manuscript came following his father’s death. The Berlin Singakademie under Carl Friedrich Rungenhagen performed the Kyrie and Gloria in 1834, and the rest of the work the following year. Already, well before this, in the year from autumn 1811 to autumn 1812, the Singakademie under Carl Friedrich Zelter, Rungenhagen’s predecessor, had already sung through the Mass without performing it, Zelter describing it in a letter as “probably the greatest musical work of art that the world has ever seen.”

That it took some time for the B minor Mass to enter the repertory is not surprising, given the genesis of the work itself, and since it was only Mendelssohn’s 1829 performance of Bach’s St. Matthew Passion with the Berlin Singakademie that spurred broad general interest in the composer’s music. The first complete performance for which there is firm evidence took place in Leipzig, in 1859. The work was first given the title “Die hohe Messe”—the High Mass—in 1845, connoting comparison to the Missa Solemnis of Beethoven. And the title Mass in B minor—a title used only after Bach’s death—may even be something of a misnomer, since the predominant key with respect to both fre- quency of appearance and resolution of large-scale harmonic tension is clearly D major.

I. MISSA (KYRIE AND GLORIA) The Missa calls for orchestra (strings, flutes, oboes and oboes d’amore, bassoons, trumpets, and drums), five-part chorus (soprano I, soprano II, alto, tenor, and bass), all of the vocal soloists, and continuo.

The first Kyrie, in B minor, suggests the variety of relationships between voices and orchestra to be exploited during the course of the piece. The theme is introduced first by the orchestra alone, and then treated fugally by the voices against a counterpoint in the oboes d’amore. This section leads to a filling out of the texture in which the orchestra both shares in and plays against the vocal material. The Christe, in D major, is a setting for two sopranos, violins, and continuo, in which simultaneous declamation

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The D major Gloria restores the choral ensemble to its original five parts. The setting of the words “Gloria in excelsis Deo” is suitably festive, punctuated by trumpets and drums, which were silent during the Kyrie. Another difference in scoring here is that the brighter oboes replace the Kyrie’s oboes d’amore. A plaintive setting of “Et in terra pax” provides contrasting material. The “Laudamus te,” in A major, is set for soprano, obbligato violin, strings, and continuo. This is the first of the score’s combinations of solo voice with obbligato accompaniment and, like those that come later, is noteworthy for the interweaving of ritornello (instrumental refrain) and vocal material. The “Gratias agimus tibi” (D major) is another fugal setting in strict style, with full orchestra doubling four-part chorus. The presence of trumpets and drums affords an expanse and weight that help this section close out the first part of the Gloria as a whole.

Bach’s score suggests that the remaining sections of the Gloria are to be considered as a single unit, each moving directly into the next. The “Domine Deus” (G major) is set for soprano, tenor, obbligato flute, strings, and continuo. In the main part of the movement

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com the voices declaim different phrases of the text simultaneously. After the completion of what seems to be the final ritornello, there is an extension to a B major close, and then an abrupt change to the B minor of the “Qui tollis” setting for five-part vocal ensemble and string orchestra, during which two flutes provide a cushion of accompaniment derived from that of the preceding duet. The next two sections of the text again pair a single voice with an obbligato instrument of comparable range: the “Qui sedes,” for alto, obbligato oboe d’amore, strings, and continuo, exploits the relationship between B minor and D major that is so characteristic of the score as a whole; the “Quoniam tu solus sanctus” (D major) pairs the bass soloist with obbligato horn, accompanied by a pair of bassoons and continuo. The Gloria’s closing section (“Cum sancto Spiritu,” D major) restores the full orchestra and five-part vocal ensemble. Like the opening, this is a festive, concerted movement punctuated by trumpets and drums.

II. SYMBOLUM NICENUM (CREDO) The Symbolum Nicenum calls for essentially the same performing forces as the Missa, but without the solo tenor.

One of the most striking aspects of the Credo is its overall structure. It begins with a pair of movements for vocal ensemble followed by a movement for soloists (soprano and alto). Then, the three central portions of the text are set for vocal ensemble and orchestra. Finally, the scheme of the beginning is reversed: a setting for vocal soloist (bass) is followed by a pair of ensemble movements. The effect is that of a mirror image, with the three central movements as the turning point. Of the Credo’s nine sections, four were adapted from earlier works.

The opening “Credo in unum Deum” derives its theme from liturgical chant and its “walking bass” from the realm of academic counterpoint. The movement is a strict fugue in seven parts—five-part vocal ensemble, first violins, and second violins— accompanied only by continuo. Just before the end, the bass declaims the theme cantus firmus-like, in slow note values. The following movement for four-part vocal ensemble, strings, oboes, trumpets, and drums (“Patrem omnipotentem...,” D major) offers an imitative treatment of its theme, punctuated by shouts of “Credo in unum Deum.” The “Et in unum Deum” (G major) is a duet for soprano and alto with paired oboes d’amore, accompanied by string orchestra and continuo.

Then come the Credo’s three central movements: the “Et incarnatus est” (B minor) with its throbbing bass, mournful violin accompaniment, and dirgelike vocal parts; the “Crucifixus” (E minor) with its ostinato bass, spare vocal and orchestral writing, and transcendent G major close; and the joyful “Et resurrexit” (D major) for full orchestra and voices. This is followed by the “Et in spiritum sanctum Dominum” (A major) for bass and paired oboes d’amore (earlier in the Credo’s overall structure, the corresponding movement for soprano and alto also employed oboes d’amore).

The “Confiteor” (F-sharp minor) is for five-part vocal ensemble and continuo. As in the opening “Credo in unum Deum,” a theme derived from chant is set fugally against

week 14 program notes 41 Title page for the original set of performing parts for the “Missa” of 1733 (i.e., the Kyrie and Gloria of what we now know as the B minor Mass), sent by Bach to Dresden that year with a letter seeking an appointment as court composer of Saxony

a “walking bass” and is treated like a cantus firmus near the end. The two halves of the text are given contrasting musical treatment at the outset and then combined during the course of the movement. A slowing of the basic motion coupled with chromaticism suggestive of a late Renaissance madrigal creates an aura of mystery at the introduction of the words “Et exspecto resurrectionem mortuorum,” and this passage unfolds into the bright D major of the Credo’s final movement for voices and orchestra. The music of this section once more explores the relationship between vocal and orchestral forces along the way, with a concerted rush to the final “Amen.”

III. SANCTUS The D major Sanctus requires a significant regrouping of the performing forces, calling for six-part chorus (two each of soprano and alto, plus tenor and bass), strings, oboes, trumpets and drums, and solo tenor.

The weight of the first half of the movement derives from the contrast of sonorities available within the massed forces: strings against oboes against trumpets and drums against divided voices, all sounding simultaneously. The second half of the movement is fugal and, like earlier portions of the score, sets out vocal and orchestral material in an energetic succession of shifting relationships.

Despite the division of the Sanctus from the Credo in the full score of the Mass, its weight and breadth serve to release much of the energy and tension accumulated during the course of the Credo’s succession of short movements. From this point of

42 view, the Sanctus represents the climax of the B minor Mass as a whole, given its position within the piece and the nature of the movements that follow.

IV. OSANNA, BENEDICTUS, AGNUS DEI, ET DONA NOBIS PACEM The Osanna (D major) calls for another regrouping of forces and is set for two four- part choruses and orchestra. It closes with an extended passage for orchestra alone, thereby leaving any sense of finality to the massed vocal and instrumental forces of the Dona nobis pacem.

The B minor Benedictus (which is followed by a repetition of the Osanna) and the Agnus Dei in G minor are given comparatively spare settings, in contrast to the earlier movements for vocal soloists. The Benedictus is a setting for tenor, continuo, and unspecified obbligato instrument (based on its range, the part is most frequently played on solo flute but is sometimes taken by violin). The Agnus Dei calls for alto, violins, and continuo.

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week 14 program notes 43 44 The Mass ends with a setting of the words “Dona nobis pacem” for voices and orchestra. Although the music is lifted in its entirety from the “Gratias agimus tibi” of the Gloria, there is a difference. In the Gloria, the D major of the “Gratias agimus tibi” had been preceded by the A major of the “Laudamus te.” Here, the Dona nobis pacem’s D major stands in sharp contrast to the F-sharp minor of the immediately preceding Agnus Dei. The “Gratias agimus” had closed a comparatively brief segment of the Gloria at an early point in the work as a whole. Here, the Dona nobis pacem holds its own weight both within the final division of the score and at the conclusion of the Mass. Finally, in harking back to the earlier movement, the Dona nobis pacem serves as reminder of all that has passed in the two hours since the music began.

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

THE FIRST DOCUMENTED AMERICAN PERFORMANCE OF BACH’S B MINOR MASS was of eleven selections (six choruses and five solos) given under Theodore Thomas’s direction as part of the Cincinnati May Festival on May 19, 1886. Twelve selections (six choruses and six solos) were performed in Boston’s Music Hall by the Handel & Haydn Society under Carl Zerrahn on February 27, 1887, with an orchestra of fifty, a chorus of 432, and soloists Lilli Lehmann, Mary How, George J. Parker, and Jacob Benzing. The first complete performance in this country was given on March 27, 1900, at the Moravian Church in Bethlehem, Pennsylvania, by the Bach Choir of Bethlehem led by its founder, J. Fred Wolle, with thirty instrumentalists, an eighty-member chorus, and soloists Kathrin Hilke, Luch Brickenstein, Mrs. W.L. Estes, Nicolas Douty, and Arthur Beresford. Another complete performance followed soon after, on April 5, 1900, at Carnegie Hall in New York, with Frank Damrosch leading the Oratorio Society and soloists Gertrude May Stein, Nicholas Douty, Joseph Baernstein, and Sara Anderson—an announcement for the performance stating that the work “has never been given in this country in anything like its entirety.”

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE B MINOR MASS was given by Serge Koussevitzky on March 24, 1931, as part of a Bach Festival, followed five days later with a performance to benefit the orchestra’s Pension Fund; the soloists were Amy Evans, Margaret Matzenauer, Richard Crooks, and Fraser Gange, with the Harvard Glee Club and Radcliffe Choral Society. Koussevitzky led ten further BSO performances between 1932 and 1950, including six more Pension Fund performances in Boston, and performances in 1940 and 1950 at Tanglewood. Since then, the B minor Mass has been performed in Boston Symphony concerts under Charles Munch (with Adele Addison, Florence Kopleff, John McCollum, Donald Gramm, the Harvard Glee Club, and Radcliffe Choral Society); G. Wallace Woodworth (with Adele Addison, Eunice Alberts, Blake Stern, Donald Gramm, and the Harvard-Radcliffe Choral Society); Erich Leinsdorf (the BSO’s most recent Tanglewood performance, on July 15, 1967, with Helen Boatwright, Betty Allen, Florence Kopleff, Gene Bullard, Tom Krause, the Tanglewood Choir, and the Berkshire Chorus); John Oliver (replacing Seiji Ozawa due to the latter’s illness, in December 1985 with Margaret Marshall, Katherine Ciesinski, John Aler, Benjamin Luxon, and the Tanglewood Festival Chorus), and Seiji Ozawa (the most recent subscription performances, in February 2001 with Barbara Bonney, Angelika Kirchschlager, John Mark Ainsley, Thomas Quasthoff, and the Tanglewood Festival Chorus, John Oliver, conductor). More recently, on July 25, 2007, Jos van Veldhoven led the Netherlands Bach Society in a Tanglewood performance in Seiji Ozawa Hall with sopranos Maria Keohane and Johannette Zomer, alto Robin Blaze, tenor Charles Daniels, and bass Peter Harvey.

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Important biographies of Bach include Johann Sebastian Bach: The Learned Musician by Harvard professor Christoph Wolff (Oxford paperback); Johann Sebastian Bach: Life and Work by Martin Geck, translated by John Hargraves from the original German (Harcourt), and Peter Williams’s J.S. Bach: A Life in Music, which takes as starting point the famous 1754 obituary written by his son, Carl Philip Emanuel Bach, and J.S. Bach’s pupil, J.F. Agricola (Cambridge paperback). Also of interest are John Eliot Gardiner’s Bach: Music in the Castle of Heaven (Knopf); Wolff’s Bach: Essays on His Life and Music (Harvard Uni- versity Press); The Cambridge Companion to Bach, an encyclopedia-like volume edited by John Butt (Cambridge), and J.S. Bach, a dictionary-like volume in the Oxford Composer Companions series, edited by Malcolm Boyd (Oxford), the author of Bach in the “Master Musicians” series (Oxford paperback). The J.S. Bach essay in the 2001 New Grove Dictionary of Music and Musicians is by Christoph Wolff, somewhat altered from his essay in the 1980 New Grove. The 1980 essay was reprinted in The New Grove Bach Family, along with the essays on other important members of Bach’s family (Norton paperback). The New Bach Reader, edited by Arthur Mendel and Hans David and revised by Christoph Wolff, provides a picture of Bach’s life through citations from letters and other contemporary documents (Norton paperback). Books specifically about the B minor Mass include John Butt’s Bach Mass in B Minor in the series of Cam- bridge Music Handbooks (Cambridge University); George B. Stauffer’s Bach: The Mass in B minor (Wadsworth); Exploring Bach’s B minor Mass, a collection of essays edited by Yo Tomita, Robin A. Leaver, and Jan Smaczny (also Cambridge), and conductor Helmuth Rilling’s movement-by-movement analysis of the work, which appeared in English translation as Johann Sebastian Bach’s B-Minor Mass (Prestige paperback). Noteworthy recordings of the B minor Mass include those led by John Eliot Gardiner (Archiv), Nikolaus Harnoncourt (Das alte Werk), Philippe Herreweghe (harmonia mundi), René Jacobs (Brilliant Classics), Ton Koopman (Erato), Helmuth Rilling (Hänssler Classic), and Masaaki Suzuki (BIS).

Marc Mandel

week 14 read and hear more 47

J.S. BACH Mass in B minor, BWV 232

(Bach’s text for the Mass diverges in a few points from the liturgical norm. Words printed in italics have been added by Bach; these generally correspond to the German Mass. Words that he omitted from the musical setting are in brackets.)

I. MISSA KYRIE Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison Lord, have mercy upon us.

GLORIA Gloria in excelsis Deo, et in terra Glory be to God on high, and on earth pax hominibus, bonae voluntatis. peace, good will toward men. Laudamus te, benedicimus te, We praise thee, we bless thee, adoramus te, glorificamus te. we worship thee, we glorify thee. Gratias agimus tibi propter magnam We give thanks to thee for thy great gloriam tuam. glory. Domine Deus, rex coelestis, O Lord God, heavenly king, Deus Pater omnipotens, God the Father almighty, Domine Fili unigenite O Lord, the only-begotten son Jesu Christe altissime, Jesus Christ most high, Domine Deus, Agnus Dei, O Lord God, Lamb of God, Son of Filius Patris. the Father. Qui tollis peccata mundi, Thou that takest away the sins of the miserere nobis, world, have mercy upon us, receive suscipe deprecationem nostram. our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of miserere nobis. God the father, have mercy upon us. Quoniam tu solus sanctus, tu solus For thou alone art holy; thou only art Dominus, tu solus altissimus Jesu the Lord; thou only, O Jesus Christ, Christe. art most high. Cum sancto Spiritu in gloria Dei With the Holy Ghost, in the glory of Patris, Amen. God the Father, Amen.

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week 14 text and translation 49 II. SYMBOLUM NICENUM CREDO Credo in unum Deum. I believe in one God, Patrem omnipotentem, factorem coeli the Father Almighty, maker of heaven et terrae, visibilium omnium et and earth, and of all things visible invisibilium, and invisible, Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, the only- Filium Dei unigenitum; et ex Patre begotten Son of God, and begotten of natum ante omnia saecula; Deum de his Father before all worlds, God of Deo, lumen de lumine, Deum verum God; light of light, very God of very de Deo vero; genitum, non factum, God; begotten, not made, being of consubstantialem Patri, per quem one substance with the Father, by omnia facta sunt; qui propter nos whom all things were made; who for homines et propter nostram salutem us men and for our salvation came descendit de coelis. down from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria virgine, et homo factus est. of the Virgin Mary, and was made man. Crucifixus etiam pro nobis, sub Pontio And was crucified also for us, under Pilato passus et sepultus est. Pontius Pilate he suffered and was buried.

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50 Et resurrexit tertia die And the third day he rose again secundum scripturas; according to the Scriptures et ascendit in coelum, and ascended into heaven, sedet ad dexteram Dei Patris; and sitteth at the right hand of God the et iterum venturus est Father; and he shall come again cum gloria judicare with glory to judge vivos et mortuos; the quick and the dead; cuius regni non erit finis. whose reign shall have no end. Et in Spiritum sanctum, Dominum et And in the Holy Ghost, the Lord and vivificantem, qui ex Patre Filioque Giver of life, who proceedeth from procedit, qui cum Patre et Filio simul the Father to the Son, who with adoratur et conglorificatur, qui the Father and the Son together is locutus est per Prophetas. Et unam worshipped and glorified, who spake sanctam catholicam et apostolicam by the Prophets. And in one holy ecclesiam. catholic and apostolic church. Confiteor unum baptisma in I acknowledge one baptism for the remissionem peccatorum. remission of sins. Et exspecto resurrectionem mortuorum, And I look for the resurrection of the et vitam venturi saeculi. Amen. dead, and the life of the world to come. Amen.

III. SANCTUS Sanctus, sanctus, sanctus, Holy, holy, holy Dominus Deus Sabaoth. is the Lord God of hosts. Pleni sunt coeli et terra gloria eius. Heaven and earth are full of his glory. Osanna in excelsis. Hosanna in the highest.

IV. OSANNA, BENEDICTUS, AGNUS DEI, DONA NOBIS PACEM OSANNA, BENEDICTUS Osanna in excelsis. Hosanna in the highest. Benedictus qui venit Blessed is he that cometh in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

AGNUS DEI, DONA NOBIS PACEM Agnus Dei, O Lamb of God, qui tollis peccata mundi, that takest away the sins of the world, miserere nobis. have mercy upon us. Dona nobis pacem. Grant us peace.

week 14 text and translation 51 familymatters

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Malin Christensson

Born in Sweden, and making her Boston Symphony debut this week, soprano Malin Chris- tensson studied at the Royal College of Music. Highlights of her 2016-17 season include Fauré’s Requiem with the Royal Northern Sinfonia under Alexandre Bloch; Bach’s Mass in B minor and, for her Tanglewood debut, Mahler’s Symphony No. 2 with Andris Nelsons and the Boston Symphony Orchestra; and Handel’s Messiah with the Orquesta Sinfónica de Galicia under Paul Goodwin and in staged performances for Bergen National Opera. Recent engagements have included Susanna in staged performances of Le nozze di Figaro with the Los Angeles Philharmonic under Gustavo Dudamel and with the Gulbenkian Orchestra under Paul McCreesh; Zerlina in Don Giovanni for Houston Grand Opera and at the Helsinki Festival; Bach’s Christmas Oratorio with the Leipzig Gewandhaus Orchestra under Trevor Pinnock, Bach’s St. Matthew Passion with the Philadelphia Orchestra and Yannick Nézet-Séguin, Mozart’s Mass in C Minor with Nelsons and the City of Birmingham Symphony Orchestra, and Beethoven’s Symphony No. 9 with the Swedish Radio Orches- tra under Herbert Blomstedt. Appearances in opera have also included Barbarina in Le nozze di Figaro at the Salzburg Festival and Susanna at the Aix-en-Provence Festival and in Santiago, Chile; Sophie in Werther at the Festspielhaus Baden-Baden; Miss Wordsworth in Albert Herring at the Glyndebourne Festival; Marzelline in Fidelio at the Beethoven Festival in Warsaw; a Flower Maiden in Parsifal at Covent Garden; Drusilla in L’incor- onazione di Poppea at the Drottningholms Slottsteater, and Papagena in Die Zauberflöte at the Théâtre du Châtelet, in Montpellier, and at the Vienna Festival. Ms. Christensson has also appeared at the BBC Proms and at the Lucerne and Daytona festivals. Other highlights have included performances with the London Symphony Orchestra with Daniel

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Christine Rice

Making her BSO debut this week, mezzo-soprano Christine Rice was born and educated in Manchester; she studied physics at Balliol College, Oxford, before entering the Royal Northern College of Music to study with Robert Alderson. Engagements this season and beyond include Donna Elvira in Don Giovanni at English National Opera, Giulietta in Les Contes d’Hoffmann and Blanca in The Exterminating Angel at the Royal Opera House– Covent Garden, Bach’s Mass in B minor with Andris Nelsons and the Boston Symphony Orchestra, Juno in Semele for Garsington Opera, a return to the Metropolitan Opera, and recitals at London’s Wigmore Hall. Her many roles at Covent Garden have included the title role in Carmen, Giulietta, Concepción in L’Heure espagnole, Emilia in Otello, Lucretia in The Rape of Lucretia, Sonyetka in Lady Macbeth of Mtsensk, Judith in Duke Bluebeard’s Castle, Hansel in Hansel and Gretel, Maddalena in Rigoletto, and Jenny Smith in The Rise and Fall of the City of Mahagonny, as well as two world premieres: Ariadne in Birtwistle’s The Minotaur and Miranda in Adès’s The Tempest. She recently made her Metropolitan Opera debut, appearing there as Hansel and Giulietta. Other operatic roles have taken her to such leading houses as the Bayerische Staatsoper, Munich, the Teatro Real Madrid, Seattle Opera, Frankfurt Opera, the Opéra-Comique, Deutsche Oper Berlin, and Glyndebourne Festival Opera, as well as Luxembourg and Geneva. In concert she has appeared with the BBC Scottish, Bournemouth, and City of Birmingham symphony orchestras; the Orchestra of the Age of Enlightenment, and with the Philharmonia and London Philharmonic orchestras, in repertoire including The Dream of Gerontius, La Mort de Cléopâtre, Britten’s Spring

week 14 guest artists 55

Symphony, Bach’s St. Matthew Passion, Ravel’s Shéhérazade, Mozart’s Requiem, and Verdi’s Requiem. She has appeared at the Aldeburgh, St. Denis, and Edinburgh festivals and at the BBC Proms. Conductors with whom she has worked include Sir Simon Rattle, Edward Gardner, John Nelson, Sir Charles Mackerras, Donald Runnicles, Andris Nelsons, Ryan Wigglesworth, Laurence Cummings, and Harry Bicket. Ms. Rice recently performed the world premiere of Harbison’s Closer to My Own Life with the Metropolitan Opera Orches- tra in New York and Verdi’s Requiem with the Philadelphia Orchestra under Yannick Nézet-Séguin, both at New York’s Carnegie Hall. For the BBC she has recorded Falla’s El amor brujo, Elgar’s Sea Pictures, Berlioz’s Les Nuits d’été, and, with Iain Burnside, an English song recital and Wolf’s Spanisches Liederbuch. For EMI she has recorded a debut recital disc with Roger Vignoles and Respighi’s Il tramonto with Sir Antonio Pappano.

Benjamin Bruns

Making his Boston Symphony debut this week, tenor Benjamin Bruns began his career as an alto soloist with the boys’ choir in his hometown of Hanover. He studied at the Academy of Music and Theatre in Hamburg, and while still a student was offered a permanent contract by Theater Bremen, followed by a similar contract with Cologne Opera. His career then took him via Dresden State Opera to the Vienna State Opera, where he continues to hold a seasonal contract. Among his many roles are Belmonte (Die Entführung aus dem Serail), Tamino (The Magic Flute), Don Ottavio (Don Giovanni), Ferrando (Così fan tutte), Count de Rosillon (The Merry Widow), Lysander (Britten’s A Midsummer Night’s Dream), Prince Ramiro (La Cenerentola), Boris Grigojeviˇc (Janáˇcek’s Kátya Kabanová), and the Italian tenors in Strauss’s Capriccio and Der Rosenkavalier. Since his 2012 debut, he has performed the role of the Steersman in The Flying Dutchman at the Bayreuth Festival, where he also took on the title role in an abridged children’s version of Parsifal. This season he sings David in the recent staging of Die Meistersinger von Nürnberg at the Bavarian State Opera under Kirill Petrenko; Narraboth in Salome and Tamino in The Magic Flute at Semperoper Dresden; both Erik and the Steersman in The Flying Dutchman at Madrid’s Teatro Real; and his first Pelléas inPelléas et Mélisande, under Alain Altinoglu at Vienna State Opera, where

week 14 guest artists 57 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

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58 he also sings Oronte in Alcina and Don Ottavio in Don Giovanni. His extensive concert repertoire encompasses the great sacred works of Bach, Handel, Haydn, Mozart, Schubert, and Mendelssohn. Mr. Bruns has sung with such ensembles as the Deutsche Kammerphil- harmonie Bremen, Czech Philharmonic, Bamberg Symphony, WDR Symphony Orchestra, the Cappella Istropolitana, the chorus and orchestra of Netherlands Radio, the Tölz Boys’ Choir, Dresden Baroque Orchestra, London Symphony Chorus, the orchestra of the Bach Academy in Stuttgart, and the Gächinger Kantorei. The current season brings a concert performance of Strauss’s Salome with the Frankfurt Radio Symphony under Andrés Orozco- Estrada, two tours with the Insula Orchestra, and collaborations with the Boston Symphony under Andris Nelsons (Bach’s B minor Mass), the Munich Chamber Orchestra under Alex- ander Liebreich (Beethoven’s Christ on the Mount of Olives), the Deutsches Symphonie- Orchester Berlin under Kent Nagano (Schubert’s Mass No. 5 and Beethoven’s Choral Fantasy), and the Bach Collegium Japan under Masaaki Suzuki (Bach’s St. Matthew Passion). Recital appearances this season take him to the Schubertiade Schwarzenberg (accompanied by Gerold Huber) and Regensburg. Benjamin Bruns is an award recipient of the Bundeswett- bewerb Gesang (Federal Singing Competition) in Berlin, the Mozart Competition in Hamburg, and the international singing competition of the Schloss Rheinsberg Chamber Opera. Other honors include the 2008 Kurt Hübner Prize awarded by Theater Bremen and the 2009 Young Musicians’ Prize awarded by the Schleswig-Holstein Music Festival.

Hanno Müller-Brachmann

Bass-baritone Hanno Müller-Brachmann studied with Rudolf Piernay and Dietrich Fischer- Dieskau. His engagements for 2016-17 include concerts with the Orchestre Philhar- monique de Strasbourg, Danish National Symphony, Boston Symphony, Orchestre de la Suisse Romande, and Cleveland Orchestra. He returns to La Scala for Beethoven’s Missa Solemnis under Haitink and to London’s Wigmore Hall for a song recital. Previous engagements have taken him to the London, Radio France, Vienna, and Berlin philharmonic orchestras, Berlin Staatskapelle, Dresden Staatskapelle, Leipzig Gewandhaus, Orchestre National de France, the Monteverdi Choir and Orchestra, Boston Symphony Orchestra,

week 14 guest artists 59 and Los Angeles Philharmonic, under such conductors as Sir Simon Rattle, Christian Thielemann, Kurt Masur, Bernard Haitink, Nikolaus Harnoncourt, Christoph von Dohnányi, Myung-Whun Chung, Bernard Labadie, Herbert Blomstedt, and Sir John Eliot Gardiner. He made his Carnegie Hall debut with the Chicago Symphony under Daniel Barenboim and has sung at the festivals of Granada, Flanders, Dresden, Salzburg, Lucerne, Vienna, and Tanglewood. From 1998 until 2011, he was a member of the ensemble of the Berlin State Opera, singing the Mozart roles of Leporello, Figaro, Guglielmo, and Papageno under Barenboim, as well as Amfortas (Parsifal), Wotan (Das Rheingold), Kaspar (Der Freischütz), Orest (Elektra), Tomsky (The Queen of Spades), and Golaud (Pelléas et Mélisande). He has also appeared at the Bavarian State Opera, Hamburg State Opera, Vienna State Opera, and San Francisco Opera. He has given recitals in Berlin, Graz, Amsterdam, Antwerp, Tokyo, Hamburg, Paris, and Lausanne, at London’s Wigmore Hall, and at the Schwarzen- berg Schubertiade, Berlin Festwochen, Ittingen, and Edinburgh festivals, partnering with Malcolm Martineau, Graham Johnson, Daniel Barenboim, András Schiff, and Hartmut Höll. His many recordings include Schubert and Schumann recital discs, Bach’s St. Matthew Passion with the Gewandhaus Orchestra under Riccardo Chailly, and the Gramophone Award-winning recording of Die Zauberflöte conducted by Claudio Abbado. Recent engagements include Figaro in Le nozze di Figaro with the Budapest Festival Orchestra under Iván Fischer at the Edinburgh International Festival, the St. Matthew Passion with the Royal Concertgebouw Orchestra, Brahms’s German Requiem at La Scala under Haitink; the role of Papageno and Mozart’s Requiem on a European tour with the Budapest Festival Orchestra and Iván Fischer, Beethoven’s Missa Solemnis with Orozco-Estrada at the

week 14 guest artists 61 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. Rheingau Festival, Bach’s Mass in B minor with the Cleveland Orchestra under Welser- Möst, and Beethoven’s Missa Solemnis with the BBC Philharmonic at the BBC Proms with Gianandrea Noseda. A professor at the Musikhochschule Karlsruhe, Hanno Müller- Brachmann made his first BSO appearances in August 2008 at Tanglewood, in Beethoven’s Mass in C and Symphony No. 9. He has sung with the BSO twice previously in subscription series: in Bach’s St. John Passion in April 2011, and in Brahms’s German Requiem in April 2012.

Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Richard Strauss’s Der Rosenkavalier, Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, and Mozart’s Requiem under BSO Music Director Andris Nel- sons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occa- sions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth

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64 Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long Inter- national Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Burton

Born in London, James Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John’s College, Cambridge, and holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. Mr. Burton has conducted

week 14 guest artists 65 concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlighten- ment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orques- tra Sinfonica Nacional with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème at English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropol- itan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in London’s West End and led a UK tour of Bernstein’s Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and BBC Singers. From 2002-09 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He returned to Manchester in 2014, preparing the choirs for a Grammy-nominated recording under Sir Mark Elder of Vaughan Williams’s Sea Symphony. Since 2002 he has been music director of the chamber choir Schola Cantorum of Oxford. He collaborates regularly with leading young musicians and in 2017 will appear as guest director of the National Youth Choir of Japan and the Prince- ton University Glee Club. He also teaches conducting, and has given master classes at the Royal Academy of Music and Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony, a setting for chorus and orchestra of Thomas Hardy’s The Convergence of the Twain commemorating the 100th anniversary of the Titanic disaster, and a recent Christmas carol premiered by the Choir of St. John’s College, Cambridge, live on BBC Radio 3. His choral works are published by Edition Peters. In February 2016 at Symphony Hall he was guest chorus conductor for the Tanglewood Festival Chorus performances under Charles Dutoit of Berlioz’s Resurrexit and Te Deum. At Tanglewood last summer, besides leading the TFC’s annual Friday Prelude Concert in Ozawa Hall, he prepared the chorus for the BSO’s performances of Rossini’s Stabat Mater under Charles Dutoit, Acts I and II of Verdi’s Aida under Music Director Andris Nelsons, and the BSO’s season-ending performance of Beethoven’s Ninth Symphony, also under Maestro Nelsons.

66 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Deborah Abel • Emily Anderson • Aimée Birnbaum • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave # • Anna S. Choi • Bridget Dennis • Christine Pacheco Duquette* • Sarah Eastman • Mary A.V. Feldman# • Margaret Felice • Jodie-Marie Fernandes • Bonnie Gleason • Carrie Louise Hammond • Cynde Hartman • Eileen Huang • Donna Kim • Sarah Mayo • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Kimberly Pearson • Livia M. Racz # • Melanie Salisbury # • Sandra J. Shepard • Dana R. Sullivan • Sarah Telford# • Alison L. Weaver • Sarah Wesley • Lauren Woo • Meghan Renee Zuver mezzo-sopranos

Virginia Bailey • Betty Blanchard Blume # • Lauren A. Boice • Abbe Dalton Clark • Diane Droste# • Barbara Durham • Barbara Naidich Ehrmann# • Mara Goldberg • Lianne Goodwin • Susan L. Kendall • Yoo-Kyung Kim • Eve Kornhauser • Nora Kory • Annie Lee • Gale Tolman Livingston* • Anne Forsyth Martín • Louise Morrish • Kendra Nutting • Andrea Okerholm Huttlin • Maya Pardo • Roslyn Pedlar # • Laurie R. Pessah • Amy Spound • Michele C. Truhe • Cindy M. Vredeveld • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox tenors

Brad W. Amidon # • John C. Barr# • Jiahao Chen • Stephen Chrzan • Andrew Crain# • John Cunningham • Keith Erskine • James E. Gleason • J. Stephen Groff* • David J. Heid • John W. Hickman# • James R. Kauffman# • Lance Levine • Justin Lundberg • Henry Lussier§ • Mark Mulligan • Dwight E. Porter* • Nate Ramsayer • Lee Ransom • Tom Regan • David Roth • Blake Siskavich • Arend Sluis • Martin S. Thomson • Adam Van der Sluis • Andrew Wang • Joseph Y. Wang • Hyun Yong Woo basses

Scott Barton • Stephen J. Buck • Michel Epsztein • Mark Gianino • Jim Gordon • Jay S. Gregory # • Mark L. Haberman* • David M. Kilroy • Paul A. Knaplund • Will Koffel • Bruce Kozuma # • Timothy Lanagan # • Greg Mancusi-Ungaro • Lynd Matt • Stephen H. Owades § • Donald R. Peck # • Steven Rogers • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Kenneth D. Silber • Scott Street • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Terry Ward# • Matt Weaver • Lawson L.S. Wong

Ian Watson, Rehearsal Pianist and Assistant Chorus Conductor Jennifer Dilzell, Chorus Manager

week 14 guest artists 67 The Great Benefactors

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

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

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

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

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

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

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 • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •

Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •

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

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ •

Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)

‡ Deceased

week 14 the great benefactors 69 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Roberta and George ‡ Berry • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Deborah and Philip Edmundson • Michael L. Gordon • Barbara and Amos Hostetter • Joyce Linde • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Maria and Ray Stata • Caroline and James Taylor

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by November 28, 2016. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne ‡ Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane •

week 14 the maestro circle 71

Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • William David Brohn • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Sally Currier and Saul Pannell • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Intercontinental Real Estate Corporation, Peter Palandjian • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Steve Kidder and Judy Malone • Paul L. King • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • John O’Leary • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Sean Rush and Carol C. McMullen • Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Marillyn Zacharis • Anonymous (6)

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Ken-David Masur, conducting with Melinda Lee Masur, piano

First Baptist Church, 848 Beacon Street, Newton Centre

Piano Concerto in a minor

Romeo & Juliet Fantasy Overture

Tickets available now! newphil.org or 617.527.9717 Proceeds from this concert will be shared with Suzuki School of Newton Scholarship Fund and Newton Schools Foundation in support of the Instrumental Music Enrichment Program at Lincoln-Eliot Elementary School. is a member of the sponsor Helaine B. Allen • Dr. Ronald Arky • Liliana and Hillel Bachrach • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Mrs. Winifred P. Gray • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mrs. Thomas P. King • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Annette and Vincent O’Reilly • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • William and Kathleen Rousseau • Norma and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Betsy and Will Shields • Marshall Sirvetz • Gilda Slifka • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Sharon and David Steadman • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Linda and Daniel Waintrup • Matthew and Susan Weatherbie • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Michael J. Yaremchuk • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8)

week 14 the higginson society 75 BSO Major Corporate Sponsors 2016–17 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2016-17 season. Bank of America's support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sustenance, Bank of America anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR Dell EMC is pleased to support the Boston Symphony Orchestra. Dell EMC provides the foundation to enable our enterprise customers' digital transformation through our trusted hybrid cloud and big-data solutions, built upon a modern data center infrastructure that incorporates industry- leading converged infrastructure, servers, storage, and cybersecurity technologies. David Goulden President

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship of the BSO’s Casual Fridays Series, College Card program, Youth & Family Concerts, and the BSO’s Young Professionals program. These outreach programs give both area students and young professionals from Boston and from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

76 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- General Manager - chusetts and beyond with each passing season. As the BSO continues to New England Sales help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO George Terpilowski Fairmont Copley Plaza Boston is proud to be the official hotel of the BSO. Regional Vice President, We look forward to many years of supporting this wonderful organization. North East U.S. and For more than a century Fairmont Copley Plaza and the BSO have graced General Manager, their community with timeless elegance and enriching experiences. The Fairmont Copley Plaza BSO is a New England tradition and like Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

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

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

week 14 bso major corporate sponsors 77 orchestrate your legacy

“A charitable remainder trust is a great way to support the music of the BSO and Tanglewood. At the same time, it allowed me to give my children income when they most needed it.”

—Mary Newman (1928–2016) Life Trustee, Great Benefactor, and life income gift donor

A charitable remainder trust, like the one Mary established prior to her passing, is one of a few gift options that can provide attractive income and tax advantages, all while helping to preserve the BSO for generations to come. For more information about the benefits of a life income gift and how such a gift can help you leave a lasting legacy for the BSO, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer at 617-638-9274 or [email protected].

Visit us at bso.org/plannedgiving

Administration

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

Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

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

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

week 14 administration 81 Redefining Retirement

Carleton-Willard Village is a place to truly call home. The grounds connect our residents to a rich sense of heritage, while social activities foster a deep sense of connection. Interested in connecting with our community while staying in your own home? Carleton- Willard At Home offers a membership with many of the benefits of Village life. Contact us today to learn more.

781.275.8700 www.cwvillage.org

BOSTON CHAMBER MUSIC SOCIETY Marcus A. Thompson, Artistic Director Winter 2017 Sundays at 3 pm • Fitzgerald Theatre, Cambridge Rindge & Latin School Jan 29 Britain Between Battles Works by British composers from after WWI into the Roaring Twenties Bliss • Bax • Elgar Feb 26 G is for Gemütlichkeit Three string works all in the gentle and lyrical key of G major Haydn • Schubert • Brahms

Free parking in CRLS’s underground garage 617.349.0086 • www.bostonchambermusic.org

82 development

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

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

week 14 administration 83 Celebrating

40TH ANNIVERSARY CONCERT: MARCH 4, 2017 A Child of Our Time 8 PM

Richard Cornell Fanfare WORLD PREMIERE Gunther Schuller Vertige d’Eros TICKETS ON SALE Michael Tippett A Child of Our Time NEPhilharmonic.org Sarah Pelletier, soprano; Krista River, mezzo-soprano; ALL CONCERTS HELD AT Charles Blandy, tenor; Sumner Thompson, bass THE TSAI PERFORMANCE Chorus pro Musica, Jamie Kirsch, Director CENTER

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

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

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Neal Goldman, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 14 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support,Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

Great kids. Great music. Listen to the future.

Tune in to NPR’s From the Top with Host Christopher O’Riley at www.fromthetop.org/podcast

week 14 administration 87 Next Program…

Thursday, February 9, 8pm Friday, February 10, 8pm (“Casual Friday” concert, with introductory comments by a BSO member and no intermission) Saturday, February 11, 8pm

andris nelsons conducting

ravel “le tombeau de couperin” (february 9 and 11 only) Prélude Forlane Menuet Rigaudon

George benjamin “dream of the song,” for countertenor and orchestra (2014-15) I. “The Pen” (Solomon Ibn Garibol [ca. 1021-ca. 1050 or 1070], trans. Peter Cole) ^ II. “The Multiple Troubles of Man” (Samuel HaNagid [993-after 1056], trans. Peter Cole) ^ III. “Gazing Through the Night” (Samuel HaNagid, trans. Peter Cole) ^ “Casida del llanto” (“Casida of the Weeping”; excerpt) (Federico García Lorca [1898-1936]) § IV. From “Gacela del amor maravilloso” (“Gazelle of Marvelous Love”) (Federico García Lorca) § V. “The Gazelle” (Samuel HaNagid, trans. Peter Cole) ^ VI. “My Heart Thinks as the Sun Comes Up” (Solomon Ibn Garibol, trans. Peter Cole) ^ “Casida del herido por el agua” (“Casida of the wound by water”; excerpt) (Federico García Lorca) § ^ bejun mehta, countertenor § lorelei ensemble, beth willer, artistic director

{intermission}

berlioz “symphonie fantastique,” episode from the life of an artist, opus 14 “Reveries, passions.” Largo—Allegro agitato e appassionato assai—Religiosamente “A ball.” Valse: Allegro non troppo “Scene in the country.” Adagio “March to the scaffold.” Allegretto non troppo “Dream of a witches’ sabbath.” Larghetto—Allegro

88 Coming Concerts… friday previews and 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 ‘B’ February 9, 8-10 Thursday ‘C’ February 16, 8-10:20 Friday Evening February 10, 8-9:15 Friday ‘B’ February 17, 1:30-3:50 (Casual Friday, with introductory comments Saturday ‘A’ February 18, 8-10:20 by a BSO member and no intermission) Tuesday ‘B’ February 21, 8-10:20 Saturday ‘B’ February 11, 8-10 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor EMANUEL AX, piano BEJUN MEHTA, countertenor SCHULLER Seven Studies on Themes of LORELEI ENSEMBLE, BETH WILLER, artistic director Paul Klee RAVEL Le Tombeau de Couperin MOZART Piano Concerto No. 22 in (February 9 & 11 only) E-flat, K.482 BENJAMIN Dream of the Song BEETHOVEN Symphony No. 3, Eroica (BSO co-commission) BERLIOZ Symphonie fantastique Thursday ‘D’ February 23, 8-10:15 Friday ‘A’ February 24, 1:30-3:45 Tuesday ‘C’ February 14, 8-9:55 Saturday ‘A’ February 25, 8-10:15 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor EMANUEL AX, piano BAIBA SKRIDE, violin BEETHOVEN Piano Concerto No. 2 HARRIET KRIJGH, cello BERLIOZ Symphonie fantastique ELSBETH MOSER, bayan GUBAIDULINA Triple Concerto for violin, cello, and bayan (world premiere; BSO co-commission) SHOSTAKOVICH Symphony No. 7, Leningrad

The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

Next week, Andris Nelsons is joined by countertenor Bejun Mehta and the Boston-based Lorelei Ensemble in the BSO’s first performances of English composer George Benjamin’s Dream of the Song, commissioned by the BSO for the 75th anniversary of the Tanglewood Music Center and given its American premiere by the Tanglewood Music Center Orchestra in July 2016, with conductor Stefan Asbury, the Lorelei Ensemble, and countertenor/TMC Fellow Daniel Moody. Opening the program is Ravel’s colorful orchestral version of his solo piano suite Le Tombeau de Couperin, inspired in part by the French Baroque composer François Couperin. Berlioz’s Symphonie fantastique, his first masterpiece, is innovative in form, remarkably forward-thinking in its use of the orchestra, and quintessentially Romantic in its depiction of an artist’s unrequited love.

week 14 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

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

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

week 14 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®