Week 22 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 22 andris nelsons music director

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Table of Contents | Week 22

7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 in defense of mahler’s music— a 1925 letter from aaron copland to the editor of the “new york times” 24 this week’s program

Notes on the Program

26 The Program in Brief… 27 Michael Gandolfi 35 Gustav Mahler 55 To Read and Hear More…

Guest Artist

59 Olivier Latry

62 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on march 27 is given by bso assistant director of program publications robert kirzinger.

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 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 22 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. † • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain † • Sandra Bakalar • George W. Berry † • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • John P. Eustis II † • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Farla H. Krentzman • 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 • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck † • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • 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 22 trustees and overseers 5

BSO News

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Each Saturday-night concert is 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 Mozart’s last three symphonies led by Christoph von Dohnányi (encore broadcast of March 30); BSO Music Director Andris Nelsons leading Mahler’s Symphony No. 6 and Michael Gandolfi’s new, BSO-commissioned Ascending Light featuring organist Olivier Latry (March 28; encore on April 6), and music of Shostakovich and Beethoven featuring violinist Christian Tetzlaff with Andris Nelsons conducting (April 4; encore on April 13).

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall from 5:30-6:45 p.m. on selected Tuesday and Wednesday evenings throughout the season; the Wednesday sessions are followed by a free, thirty-minute tour of Symphony Hall. This season’s final Wednesday-evening “Are You Listening?” session, “Musical Imaginings” on April 8, will focus on music of Schuller, Ravel, Schumann, and Brahms, with BSO principal violist Steven Ansell joining BSO Director of Program Publications Marc Mandel. Since each of these sessions is self-contained, no prior musical training, or attendance at any previous session, is necessary. For further information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on March 27 is given by Robert Kirzinger. Upcoming speakers include Marc Mandel on April 3 and May 1, and Elizabeth Seitz of the Boston Conservatory on April 24.

week 22 bso news 7 individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Virginia and James Aisner she sang a solo on the stage of Symphony Concert, Thursday, March 26, 2015 Hall with the Smith choir. In addition to her service to the BSO, Polly previously served as Thursday evening’s concert is supported by chairman of the New England Wild Flower a gift from Virginia and Jim Aisner, who have Society, chairman of the board of the Center been subscribers and donors to the BSO for for Plant Conservation, secretary of the Ded- many years. Jim first attended the orchestra’s ham Land Trust, and an advisory committee Saturday-morning youth concerts when he member of the Asticou Azalea Garden and was a student at Boston Latin School in the Coastal Maine Botanic Garden. Dan was the 1960s; he “graduated” to a series subscrip- retired chairman of Scudder, Stevens & Clark. tion after his marriage to Virginia. Longtime He began his career at the investment firm contributors to the Symphony Annual Fund, after earning his A.B. from Harvard University. they have been members of the Higginson Dan was also an alumnus of Milton Academy. Society since 2001. Jim was elected to the He served on the boards of Milton Academy, BSO Board of Overseers in 2014. Brigham and Women’s Hospital, Fiduciary Trust Company, New England Aquarium, The Polly and Dan Pierce Guest College of the Atlantic, WGBH, and the Artist, Friday, March 27, 2015 Trustees of Reservations, among others. Married for close to sixty years, Polly and The guest artist appearance by Olivier Latry Dan have four children, Sara, Daniel Jr., on Friday afternoon is supported by a gener- Matthew, and Samuel. ous gift from BSO Overseer Emerita Polly Pierce and her late husband, Dan, who passed away on July 4, 2014. As Great The Gregory E. Bulger Foundation Benefactors, Polly and Dan have generously Concert, Saturday, March 28, 2015 supported many initiatives at the BSO, in- The Gregory E. Bulger Foundation is very cluding the Artistic Initiative and the Sym- pleased to underwrite the performance on phony and Tanglewood Annual Funds. They Saturday evening conducted by Ray and established the Polly and Dan Pierce Guest Maria Stata Music Director Andris Nelsons. Artist Fund within the BSO’s endowment to This challenging program includes the BSO’s support a guest soloist engagement with the world premiere of a concerto written by BSO each season, with special preference for Boston-based composer Michael Gandolfi concerts featuring BSO musicians as soloists. for Symphony Hall’s remarkable, recently Polly and Dan have been BSO subscribers restored Aeolian-Skinner organ, as well as and donors for more than four decades. Polly Gustav Mahler’s powerful Symphony No. 6, began attending concerts at Symphony and which will be performed at Carnegie Hall in Tanglewood with her mother, the late Caroline April and on the BSO European Festivals Tour Read Harding, when she was a child. In the during the summer of 2015. 1990s, Polly named two seats in Symphony BSO Great Benefactor Gregory Bulger has Hall in honor of her mother and father, Francis been a subscriber to the Boston Symphony Appleton Harding. Polly is a member of both Orchestra for more than forty years. He cur- the Higginson and Koussevitzky societies at rently serves as an Overseer of the orchestra the Maestro level. She was elected an Over- and as a member of several board commit- seer in 1999 and was elevated to Overseer tees. Mr. Bulger has also held leadership Emerita in 2011. positions at other Boston-based non-profit An alumna of Milton Academy, Polly attended organizations, such as Opera Boston, Project Smith College and the Longy School of Music; STEP, and the Boston Conservatory. He was

week 22 bso news 9 instrumental in the opening of the new per- Bedros Boghos Afeyan—and his sister, Arme- forming arts center that bears his name at nouhi Israelian-Afeyan. Commencing in 1915, Boston College High School, his alma mater, the Armenian Genocide was a campaign to and was co-chair of the school’s 150th Anni- eliminate the Armenian race perpetrated by versary Committee. This milestone was marked the Ottoman Turks at the twilight of their by a celebratory program at Symphony Hall imperial reign. Among those arrested and on October 20, 2013. condemned to execution was Noubar’s grandfather, Bedros. Unlike the 1.5 million The Bulger Foundation was founded in 2002. Armenians who perished, he managed to In previous years, the Foundation has under- escape with the help of German officers written seventeen BSO and Tanglewood working on the construction of the Berlin- Music Center concerts, including the return Baghdad railway system during World War I. of Sir Colin Davis to the BSO podium after Eventually, the Afeyan family left their ances- an absence of nearly twenty years, and con- tral home in Adapazar, Turkey, to restart their cert performances under James Levine of lives in Bulgaria, subsequently relocating to Schoenberg’s Moses und Aron and the double Lebanon, Canada, and finally the United bill of Stravinsky’s Oedipus Rex and Bartók’s States. Accounts of devastation, survival, and Bluebeard’s Castle, as well as Tanglewood on revival transmitted through Noubar’s great Parade for the last several years. The Founda- aunt, Armenouhi, were a vital part of his tion is also the major underwriter of the live childhood years and continue to have a pro- Sunday broadcasts of the BSO from Tangle- found influence on his life to this day. wood produced by WGBH and carried by many NPR stations throughout New England Throughout 2015, Armenians dispersed and eastern New York. Providing support to around the globe as a result of the Genocide performing arts organizations in the greater are marking the tragic events of 100 years Boston area is the major goal of the Foundation. ago. In addition to commemorating the Genocide, Armenians are also expressing Mr. Bulger was formerly the chief executive gratitude to the individuals, institutions, and officer of HealthCare Value Management, governments who helped survivors on the which he founded in 1990. HCVM is a man- road to recovery and revival. aged care organization that operates the largest independent preferred provider organization in New England. Mr. Bulger resides in Complimentary Shuttle Service Dover, MA. Between Prudential Center and Symphony Hall on Friday The Noubar and Anna Afeyan Afternoons Concert, Tuesday, March 31, 2015 The BSO continues to offer patrons who park Tuesday evening’s performance is supported in the Prudential Center garage a complimen- by a generous gift from BSO Overseer Dr. tary shuttle service between the Prudential Noubar Afeyan and his wife, Anna Gunnarson- Center and Symphony Hall before and after Afeyan. Elected to the Board of Overseers in the Friday-afternoon subscription concerts. 2008, Noubar has served on the Investment The 23-passenger shuttle picks up passen- Committee and the Strategic Planning Com- gers in front of P.F. Chang’s restaurant on mittee. The Afeyans have supported the Belvidere Street near Huntington Avenue Symphony Annual Fund since 2009. They before the concert, and at Symphony Hall are members of the Higginson Society at the after the concert. Service begins one hour Encore level. before the concert starts and runs for up to one hour after it ends (or until there are no On the occasion of the centennial commem- more passengers needing return service). oration of the Armenian Genocide, Noubar The shuttle is run by Commonwealth World- and Anna support this concert in memory of wide Chauffeured Transportation, is marked a genocide survivor—Noubar’s grandfather, “BSO Shuttle,” and loops to and from Sym-

week 22 bso news 11 phony Hall every fifteen to twenty minutes, It’s Your BSO, Play Your Part: depending on traffic. Please visit bso.org for Become a Friend of the BSO further details. At Symphony Hall, everyone plays their part. From the musicians on stage, to the crew Go Behind the Scenes: behind the scenes, to the ushers and box The Irving W. and Charlotte F. Rabb office staff, it takes hundreds of people to put Symphony Hall Tours on a performance, and it takes the dedicated support of thousands of Friends of the BSO The Irving W. and Charlotte F. Rabb Symphony to make it all possible. Every $1 the BSO Hall Tours—named in honor of the Rabbs’ receives in ticket sales must be matched with devotion to Symphony Hall with a gift from an additional $1 of contributed support to their children James and Melinda Rabb and cover its annual expenses. Friends of the BSO Betty (Rabb) and Jack Schafer—provide a play their part to help bridge that gap, keep- rare opportunity to go behind the scenes at ing the music playing to the delight of audi- Symphony Hall. In these free, guided tours, ences all year long. In addition to joining a experienced members of the Boston Sym- community of like-minded music lovers, phony Association of Volunteers unfold the becoming a Friend of the BSO entitles you to history and traditions of the Boston Symphony benefits that bring you closer to the music Orchestra—its musicians, conductors, and you cherish. Friends receive advance ticket supporters—as well as offer in-depth infor- ordering privileges, discounts at the Symphony mation about the Hall itself. Tours are offered Shop, and access to the BSO’s online newslet- most Wednesdays at 4 p.m. and two Satur- ter InTune, as well as invitations to exclusive days per month at 2 p.m. during the BSO donor events such as BSO and Pops working season. Please visit bso.org/tours for more rehearsals, and much more. Friends member- information and to register. ships start at just $100. Contact the Friends

12 Office at (617) 638-9276, friendsofthebso@ iors and students). For more information, visit bso.org, or join online at bso.org/contribute, bostonartistsensemble.org or call (617) 964- to play your part with the BSO by becoming 6553. a Friend. The chamber ensemble Mistral, whose membership includes BSO violinist Julianne Lee BSO Members in Concert and BSO cellist Mickey Katz, presents its final program of the season, “The Gypsy Spirit,” BSO principal horn James Somerville and on Saturday, April 11, at 5 p.m. at St. Paul’s principal tuba Mike Roylance (as well as for- Episcopal Church in Brookline and on Sunday, mer BSO members Norman Bolter, trombone, April 12, at 3 p.m. at South Church in Andover, and Frank Epstein, percussion) participate in under artistic director Julie Scolnik. The pro- New England Conservatory’s “Brass Bash,” gram includes Brahms’s Piano Quartet in G this year spotlighting the tuba. The event fea- minor, Opus 25, along with works by Monti, tures NEC brass students performing along- Haydn, and Ravel. Tickets are $30 (discounts side their teachers, as well as distinguished for students and seniors). For more informa- guest instrumentalists, on Sunday, March 29, tion, visit mistralmusic.org or call (978) 747- at 8 p.m. at NEC’s Jordan Hall. The program 6222. includes works by LoPresti, Goedicke, Tomasi, Self, Marques, Pinto-Correia, Forbes, and Strauss. Admission is free. Those Electronic Devices… In residence at Boston University, the Muir As the presence of smartphones, tablets, and String Quartet—BSO violinist Lucia Lin and other electronic devices used for communica- BSO principal violist Steven Ansell, violinist tion, note-taking, and photography continues Peter Zazofsky, and cellist Michael Reynolds— to increase, there have also been increased performs Dvoˇrák’s Cypresses, Barber’s Dover expressions of concern from concertgoers Beach featuring guest baritone James Demler, and musicians who find themselves distracted and Smetana’s Quartet No. 1 in E minor on not only by the illuminated screens on these Monday, March 30, at 8 p.m. at BU’s Tsai devices, but also by the physical movements Performance Center, 685 Commonwealth that accompany their use. For this reason, Avenue. Admission is free. The ensemble and as a courtesy both to those on stage and then repeats that program on Monday, April 6, those around you, we respectfully request at 7:30 p.m. in the Nazarian Center at Rhode that all such electronic devices be turned Island College, 600 Mt. Pleasant Avenue, off and kept from view while BSO perform- Providence. General admission there is $35 ances are in progress. In addition, please (discounts for seniors and students). For also keep in mind that taking pictures of the more information, visit ric.edu/pfa or call orchestra—whether photographs or videos— (401) 456-8144. is prohibited during concerts. Thank you very much for your cooperation. Founded by former BSO cellist Jonathan Miller, the Boston Artists Ensemble ends its 2014-15 season with Mozart’s C major piano Comings and Goings... trio, K.548, Brahms’s Piano Quartet in G minor, Please note that latecomers will be seated Opus 25, and a new trio by Matthew Aucoin, by the patron service staff during the first commissioned by Mr. Miller, on Friday, April convenient pause in the program. In addition, 10, at 8 p.m. at the ensemble’s new venue in please also note that patrons who leave the Salem, historic Hamilton Hall, and on Sunday, hall during the performance will not be April 12, at 3 p.m. at Wilson Chapel, Andover allowed to reenter until the next convenient Newton Theological School, 210 Herrick pause in the program, so as not to disturb the Road, Newton Centre. Joining Mr. Miller are performers or other audience members while violinist Sharan Leventhal, violist Lila Brown, the concert is in progress. We thank you for and pianist Randall Hodgkinson. Tickets are your cooperation in this matter. $27, available at the door (discounts for sen-

week 22 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 22 on display 15 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

16 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by Richard Strauss, including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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 Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 22 andris nelsons 17 Boston Symphony Orchestra 2014–2015

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

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

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

week 22 boston symphony orchestra 19

In Defense of Mahler’s Music— A Letter from Aaron Copland to the Editor of the “New York Times”

Reprinted from the Boston Symphony Orchestra program of October 16 and 17, 1931—the program book for the United States premiere of Mahler’s Ninth Symphony under the baton of Serge Koussevitzky—this letter from Aaron Copland to the “New York Times,” dated April 2, 1925, reflects a period when Mahler’s music was still basically unfamiliar, and even puzzling, to audiences and critics on this side of the Atlantic. The first Mahler symphony to enter the BSO’s repertoire was No. 5, introduced here by Wilhelm Gericke in February 1906. Karl Muck introduced the Second to BSO audiences in January 1918, and Pierre Monteux the First in November 1923. The Ninth followed in 1931, the Fourth (under Richard Burgin) in 1942, the Seventh (under Koussevitzky) in 1948, the Adagio from the unfinished Tenth in 1953 (Burgin again), the Third only in 1962 (again Burgin), the Sixth in 1964 (under Erich Leinsdorf), and the Eighth in 1972 (at Tanglewood under Ozawa; not until 1980 did the BSO play the Eighth in Symphony Hall, again with Ozawa).

To the Editor of the New York Times:

The music critics of New York City are agreed upon at least one point—Gustav Mahler, as a composer, is hopeless. Year in and year out, the performance of one of Mahler’s works is invariably accompanied by the same disparaging reviews. Yet no critic has been able to explain just what it is that [the conductor Willem] Mengelberg—and for that

The Boston Symphony program from the United States premiere of Mahler’s Ninth Symphony under Serge Koussevitzky in October 1931 (BSO Archives)

week 22 21 matter all Germany, Austria, and Holland—ﬁnds so admirable in Mahler’s music.

If I write in defense of Mahler it is not merely for the pleasure of contradicting the critics. As a matter of fact, I also realize that Mahler has at times written music which is bom- bastic, longwinded, banal. What our critics say regarding his music is, as a rule, quite jus- tiﬁed, but it is what they leave unsaid that seems to me unfair.

If one discounts for the moment the banal themes, the old-fashioned romantico-philosophical conceptions so dear to Mahler—if one looks at the music quâ music—then it is undeniable that Mahler is a composer of today. The Second Symphony, which dates from 1894, is thirty years ahead of its time. From the standpoint of orchestration, Mahler is head and shoulders above Strauss, whose orchestral methods have already dated so per- ceptibly. Mahler orchestrates on big, simple lines, in which each note is of importance. He manages his enormous number of instruments with extraordinary economy, there are no useless doublings, instrument is pitted against instrument, group against group. So recent a score as Honegger’s “Paciﬁc 231” is proof of Mahler’s living inﬂuence.

The present-day renewed interest in polyphonic writing cannot fail to reflect glory on Mahler’s consummate mastery of that delicate art. The contrapuntal weaving of voices in the Eighth Symphony—especially in the first part—is one side of Mahler’s genius which I believe the critics have not sufficiently appreciated.

As for the banality of Mahler’s thematic material, I have found that generally no matter how ordinary the melody may be, there is always somewhere, either in the beginning or end, one note, one harmony, one slight change which gives the Mahler touch. (Every page he wrote has the individual quality that we demand from every great composer— he was never more Mahler than when he was copying Mozart.) In any case, even when his musical ideas prove barren, I am fascinated by what he does with them and how he clothes them.

That Mahler has on occasion been grandiloquent is undeniable, but I fail to ﬁnd any bombast whatsoever in “Das Lied von der Erde.” Most critics, I believe, would agree with that statement. Yet they are so prone to discussing Mahler’s music in generalities that any one unfamiliar with that composition would be led to suppose that it, too, was full of sound and fury signifying nothing.

Mahler has possibly never written a perfect masterpiece; yet, in my opinion, such things as the ﬁrst movement of the Seventh Symphony, the scherzo of the Ninth, the last movement of the Fourth, and the entire “Das Lied von der Erde” have in them the stuff of living music.

AARON COPLAND

New York, April 2, 1925

week 22 23 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, March 26, 8pm | the virginia and james aisner concert Friday, March 27, 1:30pm Saturday, March 28, 8pm | the gregory e. bulger foundation concert Tuesday, March 31, 8pm | the noubar and anna afeyan concert

andris nelsons conducting

gandolfi “ascending light,” for organ and orchestra (world premiere; commissioned by the boston symphony orchestra, andris nelsons, music director, with generous support provided by the gomidas organ fund, in memory of berj zamkochian and commemorating the 100th anniversary of the armenian genocide) I. Vis Vitalis— II. Lullaby of Tigranakert/Variations—Reverie— Coda: Avarot lousaber (Ascending light) olivier latry, organ

{intermission} ac Borggreve Marco

24 mahler symphony no. 6 Allegro energico, ma non troppo Scherzo (Wuchtig) [Weighty] Andante moderato Finale. Allegro moderato

friday afternoon’s appearance by olivier latry is supported by a generous gift from polly and dan pierce. saturday evening’s performance of mahler’s symphony no. 6 is supported by a gift from dr. and mrs. irving h. plotkin. tuesday evening’s performance of mahler’s symphony no. 6 is supported by a gift from dr. nancy f. koehn.

bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 10:20, the afternoon concert about 3:50. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 22 program 25 The Program in Brief...

BSO Music Director Andris Nelsons leads the second world premiere of the season, Michael Gandolfi’s Ascending Light for organ and orchestra, the first work for organ solo and orchestra commissioned by the BSO. Gandolfi is a Boston-based composer and an alumnus and faculty member of both the New England Conservatory and the Tanglewood Music Center. Ascending Light was commissioned to honor the Armenian-American organist Berj Zamkochian, and to commemorate the 100th anniversary of the Armenian Genocide. Zamkochian was a frequent performer with the BSO and Boston Pops beginning in the 1950s. Gandolfi has previously written pieces for the Tanglewood Music Center Orchestra, the Boston Symphony Chamber Players, and the BSO itself, which premiered his Night Train to Perugia, a Tanglewood 75th-anniversary commission, in 2012.

Michael Gandolfi celebrates Armenia and its culture in the two-movement Ascending Light, the title of which is a translation of “Aravot lousaber,” the name of the Armenian hymn tune heard in the work’s coda. The first movement, “Vis Vitalis,” or “life force,” represents for the composer the resolute vitality of Armenia’s people and culture. The second movement begins with a solo organ transcription of an Armenian “Lullaby of Tigranakert,” an improvisatory melody on which Gandolfi composed four variations— the first three introspective, the fourth, much larger one, an energetic scherzo. This is followed by a quiet “Reverie,” which leads to the “Aravot lousaber” coda.

Following three symphonies involving voice, Mahler’s Fifth, Sixth, and Seventh symphonies are a purely instrumental trilogy linked by a renewed interest in counterpoint and a new and highly refined treatment of the orchestra. Mahler wrote the Sixth over the course of the two summers 1903 and 1904, during one of the most idyllic periods of his life: he was a leading conductor of his age; his Fifth Symphony had had a triumphant premiere; he was happily married and had two young daughters. Yet the Sixth is arguably his dark- est, most emotionally fraught work, and the only one of his symphonies to end forceful- ly in the minor mode with no hint of relief. It is in four movements, the first an intense, march-infused, twenty-four-minute span introducing harmonic relationships that obtain throughout the piece. Of particular importance is a simple two-chord motif moving from A major to A minor. Within the storm, though, Mahler gives a glimpse of idyllic Austrian country life, cowbells heard clanking in the distance.

Mahler himself vacillated as to the published order of the two middle movements; each conductor must make the decision anew. On one hand, the scherzo can be heard as a con- tinuing development of the first movement’s materials; on the other, the Andante moderato provides a welcome respite from the opening movement’s intensity. The finale ranges widely in tempo and mood, recalling moments from earlier in the piece, sometimes suggesting a turn toward reconciliation but ultimately crashing back to the depths. Mahler originally composed three “hammer strokes” for critical moments of this movement; as his wife Alma recounted, “It is the hero, on whom fall three blows of fate, the last of which fells him.” But the superstitious composer omitted the third blow in the 1906 premiere.

Robert Kirzinger

26 Michael Gandolfi “Ascending Light,” for organ and orchestra (2015)

MICHAEL GANDOLFI was born in Melrose, Massachusetts, on July 5, 1956, and lives in Cambridge, Massachusetts. He was offered the commission to compose a work for organ and orchestra for the Boston Symphony Orchestra—the first work for organ and orchestra to be specifi- cally commissioned by the BSO—in summer 2009. Most of the active stage of composition took place in 2014, and the completed score was ready by January 2015. The score is inscribed, “Com- missioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, with generous support provided by the Gomidas Organ Fund, in memory of Berj Zamkochian and commemorating the 100th anniversary of the Armenian Genocide.” The composer’s dedication is “in loving memory of my father.” These are the world premiere performances.

IN ADDITION TO THE SOLO ORGAN, the score for “Ascending Light” calls for three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, two trombones and bass trombone, tuba, percussion (three players: xylophone, glockenspiel, two sets of tubular bells, bass drum, large and medium suspended cymbals, crash cymbals, tambourine, triangle, mark tree, ratchet), timpani, harp, and strings. The duration of the piece is about twenty- eight minutes.

The impetus for this Boston Symphony Orchestra commission for Michael Gandolfi’s Ascending Light for organ and orchestra came originally from the Gomidas Organ Fund in honor of its founder, the late Armenian-American organist Berj Zamkochian (1929-2004), as well as to commemorate the 100th anniversary of the Armenian genocide. Zamkochian, a longtime presence in the Boston music community, was also active worldwide as a soloist and for many years a faculty member of the New England Conservatory, where Michael Gandolfi is a member of the composition faculty. While still in his twenties, Zamkochian gained the attention of BSO music director Charles Munch, who brought him to Symphony Hall as organ soloist in such works as the Saint-Saëns Symphony No. 3 (his recording of that work with the BSO is considered a classic) and the Poulenc Concerto

week 22 program notes 27 Michael Gandolfi on “Ascending Light”

I was first presented with this commission for a work for organ and orchestra in the summer of 2009, by Anthony Fogg, Artistic Administrator of the Boston Symphony Orchestra. He made it clear that it was the wish of the members of the Gomidas Organ Fund that I have complete artistic freedom in writing the piece: the work need not be conceived as a requiem for those who perished in the Armenian Genocide. However, it was immediately clear to me that I would not be able to compose this work in ignorance of this terribly tragic event.

I found an appealing and well-known Armenian lullaby, known as the lullaby of Tigranakert (Tigranakert was the ancient capital of Armenia). My research led to many recorded examples. I transcribed several, realizing that this would be a prominent feature of the piece at some point. After doing this I became interested in researching sacred Armenian music and found a choral work titled “Aravot Lousaber,”’ which translates as “Ascending Light.” The plaintive melody dates back several centuries, but a simple and elegant four- part harmonization was by the Armenian priest, musicologist, and composer known as Vartapet Komitas. (I learned only after completing the piece that Komitas is Gomidas, after whom the Gomidas Organ Fund is named—a fortuitous and remarkable synchronicity.) I then had two Armenian musical references that provided a superb balance: one of earth- iness, one of heavenliness.

In fall 2014, after a long session of reading about the great number of intellectuals mur- dered at the outset of the Armenian Genocide, I found myself viewing portraits of a number of these victims, apparently taken in the prime of their lives. Suddenly a very powerful, almost defiant music emerged in my inner ear. This music was rich and full of life. It was a courageous music. The full form of the piece was suddenly made clear. The first movement would be a celebration of the vitality of life or “life force.” The second would move from the earthly to the heavenly. The finale would merge the transformation of the second movement with the life-force music of the first. I felt that the generally positive ethos of the piece would align with the vital and developing Armenian culture that has prevailed in spite of the horrors of 1915.

Once all of this was in place, the piece was written rather quickly. I was excited to write a work for the newly renovated organ at Boston’s Symphony Hall. I was also greatly aided by hearing Olivier Latry in recital in Montreal at the very early stages of writing. We met for several hours after his recital and he played through my transcription of the “Lullaby of Tigranakert.” He also generously revealed many features of organ-writing that proved most useful in the following weeks. He is a remarkable musician, with a great stage presence. In addition to Olivier, I sought counsel in writing for organ from Kathryn Salfelder, a fine DMA composition student of mine and an accomplished organist, as well as from organist and New England Conservatory faculty Tom Handel. I was also fortunate to have the New England Conservatory Wind Ensemble, led by my friend and colleague Charles Peltz, read through the opening of the piece.

Michael Gandolfi

28 for Organ, Timpani and Strings. He performed in Symphony Hall’s erstwhile regular series of organ recitals and, following Munch’s departure, continued to appear with the BSO and Boston Pops for many years. Zamkochian established the Gomidas Organ Fund to mark the centenary of the great Armenian priest and composer Gomidas Vardapet (1869-1935).*

A teacher, composer, and musicologist, Gomidas remains the single most important figure in the more than millennium-old tradition of Armenian music. His efforts to catalogue Armenian folk music as well as the complex system of church modes helped focus the cultural identity of a people that had largely come under Ottoman rule for centuries. In part because of this, he was one of the several hundred Armenian intellectuals and artists arrested in Constantinople in April 1915, an event marking the beginning of what has come to be known as the Armenian Genocide.† Michael Gandolfi celebrates the lively and enduring foundation of modern Armenian culture represented by Gomidas and the other deported intellectuals in the majestic, energetic music at the beginning and end of Ascending Light. He also quotes specific Armenian church and folk music else- where in the piece.

Gandolfi’s embrace of these musical materials, so richly a part of Armenian culture, reflects a wide-ranging intellectual and artistic curiosity that is also on display in the composer’s earlier commissions from the BSO. The first of these, for the Tanglewood Music Center Orchestra, was The Garden of Cosmic Speculation (2004), which was inspired by a vast Scottish garden, designed by Charles Jencks and based on various subjects of exploration in modern science. (He later expanded this piece into an eleven- movement, seventy-minute work, premiered in its complete form by the Atlanta Symphony Orchestra.) His Plain Song, Fantastic Dances (2005), commissioned for, premiered, and recorded by the Boston Symphony Chamber Players, incorporates Gregorian chant melody as a reference to St. Botolph, after whom the city of Boston is named. His orchestral commission Night Train to Perugia (2012), commissioned for the 75th anniversary of Tanglewood, is a short fantasia alluding tongue-in-cheek to an experiment done at the CERN Large Hadron Collider suggesting (mistakenly) that neutrinos can move faster than the speed of light. Among other science-based works is his Q.E.D.: Engaging Richard Feynman, for the Atlanta Symphony and Chorus (2010), with which, along with music director Robert Spano, he worked closely in recent years. Literature has figured strikingly in his work, from Shakespeare to Pinocchio to Boris Vian, as has visual art, especially the unexpected juxtapositions of the surrealists, the visual games of M.C. Escher, and the pattern dynamics of American minimalists.

* Gomidas, or Komitas, was the name given to the monk Soghomon Soghomonian upon his ordination in 1894; “Vardapet” and “Vardabed” are transliterations designating the title for a class of Armenian priest. † Following Gomidas’s arrest and a traumatic imprisonment in a deportation camp, his stature as an artist led to his being released and ultimately sent to Paris, where he spent the last fifteen years of his life in fragile mental and physical health. He died in October 1935, and his remains were rein- terred in Yerevan the following year.

week 22 program notes 29

ihe .Lutch J. Michael

Michael Gandolfi with conductor Robert Spano and the BSO following an October 2007 performance of his “The Garden of Cosmic Speculation” (Michael J. Lutch)

Gandolfi’s inquisitiveness has expanded naturally into collaborative projects. He has worked extensively with the writer Dana Bonstrom, who has provided texts and narrative scenarios for a variety of works, including the large-scale chorus-and-orchestra work Chesapeake: Summer of 1814, commemorating the 200th anniversary of “The Star-Spangled Banner,” and The Queen and the Conjurer, based on Tarot cards. The composer has also collaborated with the videographer Ean White in several multimedia projects, including video accompaniment for The Garden of Cosmic Speculation. He is offered commissions from all over the country, and in addition to the BSO and the Atlanta Symphony has worked frequently with the Boston Modern Orchestra Project (which has released two CDs of his music) and his hometown ensemble, the nearly 100-year-old Melrose Symphony Orchestra, for which he has written several pieces.

As mentioned above, Michael Gandolfi teaches as the New England Conservatory, his own alma mater; he has also taught at Harvard and Indiana universities and has been on the faculty of the Tanglewood Music Center since 1997. He was a Tanglewood Fellow in 1986, when he worked with Oliver Knussen and earned a commission for his orchestral work Transfigurations. This summer he is one of the curators for Tanglewood’s annual Festival of Contemporary Music, during which a new ensemble work, commissioned for the TMC’s 75th anniversary, receives its world premiere.

Michael Gandolfi’s Ascending Light for organ and orchestra takes its title from that of an Armenian hymn, “Aravot lousaber,” upon which the last section of the piece is based. The work is in two movements: the first is an energetic, highly patterned series of exchanges between the orchestra and the organ titled “Vis Vitalis.” This translates as “vital force,” referring to the ancient philosophical idea of a non-physical substance that animates life; here, the “life force” of Armenia is its people, and in particular the artists and intellectuals deported or killed in Turkey in April 1915. The placement of two sets of tubular bells, flanking the timpani at the rear of the stage, echoes the visual motif of the Symphony

week 22 program notes 31

Hall organ pipes; trumpet-and-trombone pairs on either side of the stage are a deliberate ceremonial gesture. The composer writes, “The passages of the first movement allow the organ to show many of its myriad guises. It is alternately leader, follower, virtuoso (replete with elaborate pedal-work), initiator of change, etc. At one moment, central in the first movement, the organ introduces motivic figures in sequence that quickly find their way into the orchestra only to become accompaniment for further elaboration by the organ, which elaboration is in turn added to the orchestra, etc., creating a complex web of accompaniment that rivals the organ’s next contribution.”

Various types of harmonic and metrical aural illusions heard throughout the piece are characteristic of Gandolfi’s music. For example, metrically the winds’ rising arpeggiated figure near the start of the piece can be heard as either groups of four notes (suggested by pitch) or groups of three (suggested by the insistent quarter-note rhythm of timpani). The composer uses this ambiguity to foreshadow changes in metrical and rhythmic perspective within the movement. Harmonies are based on triads (the basic chord of traditional tonal music), but evolve in unexpected ways, abetted by the metrical sleight-of-hand, use of harmonic pedal points, and the shift of material from foreground to accompaniment, like perspective fields in a Medieval landscape painting.

The first movement’s grand finish is connected to the second via a pedal note in the organ. The melody here is transcribed from recordings of a “Lullaby of Tigranakert,” which in its free, improvisatory flow contrasts with the intricate interlocking patterns of the first movement. As in the first movement, though, Gandolfi takes fragments of this primary tune to use in accompaniment patterns; a rising sixteenth-note figure, passed among orchestral sections, is especially persistent. The second of the three shorter variations is an organ solo; the longer fourth variation, “Grand variation: scherzo” is virtually a movement in itself. Upon its winding-down, the Reverie, a piccolo solo over chorale harmonies, leads us to the final section, “Aravot lousaber,” “Ascending light.” That hymn’s melody, first presented in simple chorale form, then combines with the music of the first movement in a joyous, vital, uplifting coda.

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 22 program notes 33

Gustav Mahler Symphony No. 6

GUSTAV MAHLER was born in Kalischt (Kaliˇstˇe) near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. He composed the Sixth Symphony during the summers of 1903 and 1904, completing the orchestration on May 1, 1905. He led a reading rehearsal with the Vienna Philharmonic in March 1906 and conducted the first public performance on May 27, 1906, in Essen (he later went on to revise the work in various ways). MAHLER’S SYMPHONY NO. 6 IS SCORED for four flutes and piccolo (third and fourth flutes also doubling piccolo), four oboes (third and fourth doubling English horn), three clarinets with high clarinet (D and E-flat) and bass clarinet, four bassoons and contrabassoon, eight horns, six trumpets, three tenor trombones and bass trombone, tuba, timpani, bass drum, snare drum (doubled), cymbals, triangle, rattle, tam-tam, glockenspiel, cowbells, low-pitched bells, birch brush, hammer, xylophone, two harps, celesta (doubled if possible), and strings.

In 1921, Paul Bekker, in the earliest really substantial study of Mahler’s work, Gustav Mahlers Sinfonien, began the chapter on the Sixth Symphony by noting that at that time the trilogy of purely instrumental symphonies, Nos. 5, 6, and 7, were the works least frequently performed, and that, of these, the Sixth was the rarest of all. For many years the Sixth was the only Mahler symphony never to have been given in America. (Serge Koussevitzky intended to remedy that defect in 1933 but apparently was unable to make arrangements with the Leipzig publisher for the parts. It remained for Dimitri Mitropoulos to introduce the symphony to America in 1947, and by then the problems were different: the publisher’s original parts had been destroyed in wartime bombings, so new parts had to be copied from the score.) Until the 1960s, when, true to the composer’s own predic- tion, his time ﬁnally came, these “middle” symphonies were still rarely heard. The ice was broken mostly by the Adagietto movement of the Fifth Symphony, which almost attained a life of its own, but gradually all of them entered the repertory of the major orchestras and they have now been recorded many times over. In recent decades, the Sixth and Seventh symphonies (the Seventh for a long while being regarded as the most problem-

week 22 program notes 35 Program page from the first Boston Symphony Orchestra performances of Mahler’s Symphony No. 6, on November 13 and 14, 1964, with Erich Leinsdorf conducting (BSO Archives)

36 atic stepchild of Mahler’s newfound popularity) have come to be as ﬁrmly established as the Fifth.

Possibly part of the reason for the neglect of the middle symphonies was that audiences found it easier to follow Mahler’s highly original approach to symphonic writing when provided with an explicit program (such as those he produced for the First and Third symphonies, though he later suppressed them) or with a text (as in the Second, Third, Fourth, and Eighth). His dazzlingly complex and ingenious instrumental symphonies simply overwhelmed the senses, especially before the development of the long-playing record, when one had to catch them at infrequent performances. No composer has bene- fited so much from the development of the recording as Mahler, simply because listeners were then able to live with his demanding works until their secrets could be revealed. We might have expected that the Sixth would be easier to comprehend than the others, if only because it is one of Mahler’s rare productions to follow the traditional four- movement symphonic form, but the somber emotional quality of the score seems to have acted against it. Although Mahler avoided revealing any kind of program for the three symphonies, he did allow the Sixth to be performed with the epithet Tragic; but later he removed even that much of a hint. The mood is, in any event, self-evident, since it is the only Mahler symphony to end unrelievedly in the minor. All the others, even when they start in the minor, proceed to blazing triumph or, at least, to gentle, poignant resignation, in the major mode. But though the fatalism of the ending—for Mahler was indeed a fatalist—may depress listeners who look instead for transfiguration, writers on Mahler increasingly rank the Sixth, taken as a whole, as his greatest symphonic achieve- ment. The composer himself found the work almost too moving to bear and predicted— correctly, as it turned out—that the Sixth would languish in obscurity until the world knew his first five symphonies.

We might very well wonder why Mahler wrote a “tragic” symphony in 1903 and 1904. As is usually the case with such queries, the answer is by no means simple; indeed, per-

week 22 program notes 37 38 Alma and Gustav Mahler about 1903

haps no explanation is possible. On the face of it, tragedy should have been the thing farthest from Mahler’s mind. He had married Alma Schindler, around whom his life henceforth revolved, on March 9, 1902, and their first daughter, Maria, was born in November. The year was one of increasing professional acclaim for Mahler the composer, with the enormously successful premiere of the Third Symphony in Krefeld in May. As a conductor he had already reached a pinnacle, having served as music director of the Vienna Opera since 1897. And he had begun composing with renewed vigor after his wedding, spending his summer vacations from the opera house engaged in feverish cre- ative activity.* The Fifth Symphony, composed during the ﬁrst summer after his wedding, is aptly characterized by Michael Kennedy as Mahler’s Eroica, a symphonic conquest. But the Sixth, composition of which occupied the next two summers, is quite a different matter. The symphony is ﬁlled with the heavy tread of marching, with dotted rhythms, and, above all, with a motto idea that consists simply of an A major triad that suddenly turns to minor. This major-to-minor motto functions on the smallest scale as a metaphor for the mood of the entire work, which several times in the last movement seems about to

* We apparently owe at least part of Mahler’s newfound prolificacy to the influence of Alma and the joys of conjugal bliss and stable family life. During the twenty years before his wedding, Mahler wrote four symphonies (and part of a fifth), a cantata, and some songs; in just five years after, he completed the Fifth, then went on to write the monumental Sixth, Seventh, and Eighth symphonies as well.

week 22 program notes 39

culminate in the major mode but ﬁnally shrinks from so positive a conclusion and ends tragically—but with deﬁance—in A minor.

We have a tendency, ex post facto, to think of Mahler as a death-obsessed neurotic, virtually incapable of living in the real world but rather pouring out his anguish, longing, and intimations of mortality in his work. To a considerable extent these views derive from Alma’s memoirs, which are an indispensable source but must be used with extreme cau- tion, since she had every reason to build up her own role in “sustaining” the composer through his tribulations. (A great deal of the Mahler legend and of our understanding of his music ultimately goes back to otherwise unsupported statements in Alma’s memoirs.) Until his heart lesion was discovered in 1907 Mahler maintained a vigorous summer regi- men of swimming, hiking, and mountain climbing, activities put in the service of generat- ing and working out his musical ideas. Even Alma recalls that the two summers during which he composed the Sixth were emotionally untroubled. Of 1903, she said: Summer had come, and with it we resumed our life at Maiernigg and its unvarying and peaceful routine. Mahler soon began working. This time it was the first sketches for the Sixth Symphony. He played a lot with our child, carrying her about and holding her up to dance and sing. So young and unencumbered he was in those days.*

Of 1904, the summer in which Mahler ﬁnished the symphony, Alma noted only that it was “beautiful, serene, and happy.” (Their second daughter had been born that June.) Only one thing upset her—or so she remembered years later: in both summers Mahler set to music some poems by Friedrich Rückert dealing with the death of children. I found this incomprehensible. I can understand setting such frightful words to music if one had no children, or had lost those one had. Moreover, Friedrich Rückert did not write these harrowing elegies solely out of his imagination: they were dictated by the cruellest loss of his whole life. What I cannot understand is bewailing the deaths of children, who were in the best of health and spirits, hardly an hour after having kissed and fondled them. I exclaimed at the time: “For heaven’s sake, don’t tempt Providence!”† The result, of course, was Mahler’s great song cycle Kindertotenlieder (“Songs on the Death of Children”), which was thus being conceived and composed at the same time as the Sixth Symphony.

* Mahler built a summer house at Maiernigg on the shores of Lake Wörth, in Carinthia, where Brahms before him had summered when he wrote his Second Symphony, Violin Concerto, and G major violin sonata. Later, Alban Berg was happy to be writing his own Violin Concerto on the shores of the same lake. † Mahler’s interest in Rückert’s poems was anything but ghoulish and only in retrospect can be seen as “tempting Providence.” He was one of fourteen children, of whom only six survived to adulthood, so there was ample experience in his own childhood to develop an empathy toward the poems. In any case, his settings, among the most restrained and subtle of all his songs, entirely avoid the exploitation or bathos that are dangers in attempting to deal with such a topic.

week 22 program notes 41

The first page of Mahler’s autograph of the Sixth Symphony

Alma claimed similar foreboding upon hearing the completed symphony. (Despite the lengthy gestation period, encompassing two summers, she did not hear the work in progress; Mahler composed in a distant, private little hut in the wood and refused to play his music to anyone before it was finished: “An artist could no more show unfinished work than a mother her child in the womb.”) On the day that Mahler finally announced the work to be finished, Alma rushed to get everything done in the house, then walked with him arm in arm to the little hut, where he played it through for her. Not one of his works came so directly from his inmost heart as this. We both wept that day. The music and what it foretold touched us so deeply. The Sixth is the most completely personal of his works, and a prophetic one also. In the Kindertotenlieder, as also in the Sixth, he anticipated his own life in music. On him too fell three blows of fate, and the last felled him. But at the time he was serene; he was conscious of the greatness of his work. He was a tree in full leaf and flower.

week 22 program notes 43

We may well believe that the two were overcome by the deep personal expressiveness of this music, but the reference to “what it foretold” is surely wisdom after the fact. The last movement contained, at three decisive points, a single powerful stroke with a hammer, the instrument being introduced into the score of the symphony solely for these three strokes. According to Alma, the composer described the movement, with its hammer strokes, as “the hero, on whom fall three blows of fate, the last of which fells him as a tree is felled.” With the hindsight of one writing her memoirs, Alma saw three “hammer strokes” that struck Mahler himself in the year 1907 (though her description of the events, which has been followed by most writers, telescopes the time span and gives the impression that the blows came directly one after the other): his resignation from the Vienna Opera in the face of mounting opposition to his reforms (and the strong thread of anti-Semitism in the city’s cultural life), the sudden and devastating death of his elder daughter Maria, at age four-and-a-half, from scarlet fever and diphtheria, and the discov- ery of his own serious heart condition—the blow that “felled him.” Still, though Alma and Mahler may not have reacted with foreboding when she ﬁrst heard the music, the composer after 1907 came to be superstitiously afraid of the three hammer strokes and eventually removed the last, “mortal” blow. As the score is printed in the critical edition of Mahler’s works, there are only two such strokes, though some conductors choose to reinstate the missing one. (Andris Nelsons does not.)

The hammer blows presented a problem at the ﬁrst performance. During the rehearsals

week 22 program notes 45 it was discovered that they could not be heard to proper effect, and the performers tried striking the hammer against various objects (including a specially constructed drum of Mahler’s own invention) to improve audibility, but none of them seems to have been entirely satisfactory. The Dutch conductor Willem Mengelberg wrote to the composer with a suggested solution, for which Mahler thanked him in a letter promising to try it when he conducted the symphony in Amsterdam and planning perhaps to add a note to the score by way of explanation. Unfortunately Mahler never did conduct the Sixth in Amsterdam, Mengelberg’s letter to him is lost (so we do not know what the suggestion was), and the composer never changed the explanation in the score, which states simply that the hammer blow should be a “short, strong, but dully reverberating stroke of a non- metallic character (like an axe-stroke).” Thus the problem of creating the appropriate sound is left, in each case, to the performers.

46 Alma’s memoirs recall the emotions aroused in the composer as he prepared the orchestra for the first public performance of the Sixth, to be held at a festival of the United German Music Society in Essen. She also recalled the utter insensitivity of the other important composer there, Richard Strauss: We came to the last rehearsals, to the dress rehearsal—to the last movement with its three great blows of fate. When it was over, Mahler walked up and down in the artists’ room, sobbing, wringing his hands, unable to control himself. Fried, Gabrilovitch, Buths, and I stood transfixed, not daring to look at one another. Suddenly Strauss came noisily in, noticing nothing. “Mahler, I say, you’ve got to conduct some funeral overture or other tomorrow before the Sixth—their mayor has died on them. So vulgar, that sort of thing—But what’s the matter? What’s up with you? But—” and out he went as noisily as he had come in, quite unmoved, leaving us petrified.*

Apparently one result of Mahler’s highly wrought-up reaction to the dress rehearsal was that he did not conduct the premiere itself well, fearing to underline the signiﬁcance of the last movement. The response of the critics was not especially favorable, with com- plaints in general that Mahler’s undeniable brilliance of orchestral technique had out- stripped the content of his work. But two young men with highly educated musical ears were entranced and excited, and they remained devotees of Mahler’s music. Their names were Anton Webern and Alban Berg.

One reason for their enthusiasm is that here Mahler achieves his most successful balance between the claims of dramatic self-expression, which is always at the core of his music, and architectural formality. It is, in fact, one of the most striking things about the Sixth that it is at once deeply personal and classically formal. Three of the four movements are in the tonic key of A minor, the only exception being the slow movement (a symphonic tradition going all the way back to Haydn, though rarely maintained at the end of the nineteenth century). The sinister opening bars introduce the constantly re- curring motives of the steady tramping in the bass and a dotted rhythm. The formal exposition (which is repeated, as in earlier classical symphonies) adds to these motives a melody opening with a downward octave leap and more marching, leading to the ﬁrst explicit statement of the “motto” mentioned earlier.

Orchestral timbre plays as important a part as the change from major to minor in coloring this idea: three trumpets attack the A major chord fortissimo but die away to pianissimo

* Alma had an intense dislike for Strauss and what she regarded as his bourgeois vulgarity, and she had no aversion to showing it. Strauss’s absorption with his royalties and percentages was not con- versational matter congenial to the Mahlers.

week 22 program notes 47 48 Mahler’s use of percussion in the Sixth Symphony provoked ridicule from many critics and, in January 1907, this response from a cartoonist who portrayed the composer as miffed at having left out a “motor horn” from his percussion battery.

as it turns to A minor; three oboes, entering on the same chord, grow from pianissimo to fortissimo, so that the heroic brassy sound of the major chord gradually shifts to the expressive nasality of the double reed. A chorale-like theme in the woodwinds, punctuated by light pizzicato strings, leads to F major and the passionate second theme (which, again according to Alma, was the composer’s attempt to depict her), soaring in the violins and upper woodwinds.

After a full repeat of the exposition, the development gets underway with rich contrapuntal interchanges between the various thematic ideas. Among the most poetic passages is the surprising appearance of cowbells playing against soft chords in the celesta and high, triple-piano tremolo chords in the violins. Mahler, the ardent alpinist, had no doubt heard the sound of cowbells many times echoing up to him through the clear mountain air; he considered them “the last earthly sounds heard from the valley far below by the departing spirit on the mountain top.” But in the score he adds a careful footnote that “the cowbells must be handled very discreetly—in realistic imitation of a grazing herd, high and low-pitched bells resounding from the distance, now all together, now individually. It is, however, expressly noted, that this technical remark is not intended to provide a programmatic explanation.” The first movement ends with the “Alma” theme in a temporarily consoling A major.

week 22 program notes 49

The middle two movements raise a special question. Mahler originally placed them in the order Scherzo-Andante, which is the order found in the manuscript and used in the first published score. But then, perhaps because he was persuaded that the thematic material of the scherzo was too similar to that of the first movement, he reversed the order of the two movements to Andante-Scherzo, the sequence used for all of the performances Mahler himself conducted and for subsequent printings of the score during his lifetime. But he was not permanently convinced, changing his mind on this point, even during rehearsals. Though the editor of the 1963 critical edition of Mahler’s Sixth Symphony, as well as the editors of the 1998 reprint, opted for Mahler’s original concep- tion of Scherzo-Andante, the most recent editor reversed the decision in 2003, saying (on an insert to the score) that the order should be Andante-Scherzo. Since arguments can be made for either sequence (Scherzo-Andante or Andante-Scherzo), the controver- sy has become more heated in recent years, and it remains for conductors to choose between the two. In these performances, Andris Nelsons will conduct the two middle movements in the order Scherzo-Andante.

The scherzo opens with an explicit reminiscence of the tramping bass of the opening movement, and follows it with recollections of other material, now occasionally in a slightly parodistic mode (especially the sarcastic trills of the woodwinds). The Trio, marked “Altväterisch” (“in an old-fashioned style”), features the oboe in a charming passage written in irregular rhythms. According to Alma’s memoirs, this section “represented the arhythmic games of the two little children, tottering in zigzags over the sand.” Here again she found the ending to be ominous and foreboding, dying away enigmatically, as it does, into A minor and silence.

The Andante, in E-ﬂat major, provides the one real passage of consolation in the symphony (signiﬁcantly, this occurs in the key that is farthest away from A minor), though the melodic material is akin to that of one of the Kindertotenlieder. Whether this lyrical

week 22 program notes 51 52 movement is placed second or third, Mahler here provides wonderful contrast to what precedes and follows it.

The finale begins in C minor, the relative minor of the Andante’s E-flat major—one of Mahler’s favorite expressive tonal relationships. A soaring violin theme, beginning with a rising octave, mirrors the falling octave of the first-movement theme. In this finale, Mahler establishes, on an imposing scale, a contrapuntal texture bringing together ele- ments from throughout the symphony, especially the first movement. A development section builds toward a massive climax in D major, but just at the point of arrival the first hammer blow breaks off the cadence and the major mode shifts suddenly to minor for a new and still more urgent development. Building to a passage of pure, almost Palestrinian counterpoint in A, the climactic cadence to D is once again interrupted by a hammer stroke and a deceptive cadence onto B-flat. Another return to the introduction builds a climax in A major, which bids fair to hold to the triumphant conclusion of the symphony; this is the point where the third and final hammer stroke is called for. Even if it is omitted from a performance, as it is from the critical edition (which Andris Nelsons follows in this regard), the point is marked by the thunderous return of the marching timpani figure from the opening movement, following which the only response is a complete collapse, as the brass and woodwinds sound once more the A minor triad—the conclusion of the motto figure—while the heavy timpani march dies away in sullen silence to a soft pizzicato A in the strings.

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

the first american performance of Mahler’s Symphony No. 6 was given by Dimitri Mitropoulos with the New York Philharmonic on December 11, 1947. the first boston symphony orchestra performances of Mahler’s Sixth Symphony were given by Erich Leinsdorf in November 1964, Leinsdorf leading further performances that same season in Boston, Washington, D.C., New Brunswick, and New York, as well as recording the symphony for RCA. Since then, BSO performances have also been given by William Steinberg (October 1971, in Boston, Washington, and New York), James Levine (on his first Tanglewood concert with the orchestra, on July 30, 1972, followed by a single Brooklyn performance in February 1973); Seiji Ozawa (in April 1981; in January/February 1992, at which time it was recorded live for Philips and also performed at Carnegie Hall; and in March 1998, followed by European tour performances that same month in London, Paris, Vienna, Munich, and Athens), Bernard Haitink, and James Levine again (the most recent subscription performances, in October 2008, from which a live download release on BSO Classics was derived; and the most recent Tanglewood performance, on July 17, 2009—the BSO’s only other performance there since Levine’s in 1972).

week 22 program notes 53

To Read and Hear More...

The article on Michael Gandolfi in the New Grove Dictionary of Music and Musicians, 2001 edition, is by Steven Ledbetter. The best, most up-to-date source of information on the composer and his works is his own website, michaelgandolfi.com. This includes a biography, works list, and sound clips from some of his pieces. The Boston Symphony Chamber Players recorded Plain Song, Fantastic Dances for an all-American disc on the BSO Classics label (available at bso.org, the Symphony Shop, iTunes, and Amazon.com). The Boston Modern Orchestra Project recorded two full CDs of Gandolfi’s music (both on the BMOP/sound label). “From the Institutes of Groove” (2013) includes the titular concerto for bass trombone as well as concertos for bassoon (with the BSO’s Richard Svoboda) and for saxophone. “Y2K Compliant” (2008) includes the title piece as well as Points of Departure and Themes from a Midsummer Night. The Atlanta Symphony Orchestra and Robert Spano recorded The Garden of Cosmic Speculation (Telarc) and the composer’s Q.E.D.: Engaging Richard Feynman (ASO Media). Points of Departure was also recorded by the conductor-less Orpheus Chamber Orchestra in the early 1990s (Deutsche Grammophon). Various other works can be found in the “discography” section of the composer’s website.

Robert Kirzinger

Deryck Cooke’s Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer’s works (Cambridge University paperback). Other good starting points include Jonathan Carr’s Mahler (Overlook Press), Peter Franklin’s The life of Mahler in the series “Musical lives” (Cambridge paperback), and Michael Kennedy’s Mahler in the “Master Musicians” series (Oxford paperback). There are two big, multi-volume biographies of the composer, one by Henry-Louis de La Grange (Oxford), the other by Donald Mitchell (University of California). Useful essay collections devoted to Mahler’s life, works, and milieu include The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson (Oxford), Mahler and his World, edited by Karen Painter (Princeton University paperback), and The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Mahler by Stephen Johnson (Oxford paperback). Mahler enthusiast and conductor Gilbert Kaplan has seen to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Also published by The Kaplan Foundation are Mahler’s Concerts by Knud Martner, which offers a detailed history of Mahler on the podium, including music performed, soloists,

week 22 read and hear more 55 concert halls, etc., for each of more than 300 concerts (co-published with Overlook Press), and Mahler Discography, edited by Péter Fülöp, which remains valuable to anyone interested in Mahler recordings, despite its 1995 publication date. Michael Steinberg’s program notes on Mahler’s symphonies 1 through 10 are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Alma Mahler’s autobiography And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) provide important if necessarily subjective source materials. Knud Martner’s Gustav Mahler: Selected Letters offers a useful volume of corre- spondence, including all of the letters published in Alma’s earlier collection (Farrar, Straus and Giroux). Though now nearly forty years old, Kurt Blaukopf’s extensively illustrat- ed Mahler: A Documentary Study remains well worth seeking from second-hand sources (Oxford University Press).

The Boston Symphony Orchestra has issued a download recording of Mahler’s Symphony No. 6 with James Levine conducting, derived from his Symphony Hall performances of October 2008 (BSO Classics, available at bso.org, from iTunes, and from Amazon.com. There are also two earlier Boston Symphony recordings: from 1965 with Erich Leinsdorf conducting (RCA) and live from 1992 with Seiji Ozawa conducting (Philips). Other recordings of the Mahler Sixth, listed alphabetically by conductor, include Claudio Abbado’s with the Berlin Philharmonic (Deutsche Grammophon), Leonard Bernstein’s with the New York Philharmonic (Sony), Pierre Boulez’s with the Vienna Philharmonic (Deutsche Grammophon); Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips) and, more recently, live with the Chicago Symphony Orchestra (CSO Resound); Georg Solti’s with the Chicago Symphony Orchestra (Decca), George Szell’s with the Cleveland Orchestra (Sony), Klaus Tennstedt’s live with the London Philharmonic (LPO), Michael Tilson Thomas’s live with the San Francisco Symphony (on that orchestra’s own label), and Benjamin Zander’s with the Philharmonia Orchestra (Telarc).

Marc Mandel

week 22 read and hear more 57

Guest Artist

Olivier Latry

French organist Olivier Latry is one of the most distinguished concert organists in the world today. One of three titular organists at the Cathedral of Notre-Dame in Paris, he is also professor of organ at the Paris Conservatory of Music and organist emeritus with the Montreal Symphony Orchestra. He maintains a full schedule of concert performances, having performed in more than fifty countries on five continents. Mr. Latry was born in 1962 in Boulogne-sur-Mer, France, where he began his musical studies. He later studied organ with Gaston Litaize at the Academy of Music at St. Maur-des-Fossés. He was titular organist of Meaux Cathedral from 1981 until 1985, and at age twenty-three won a competition to become one of the three titular organists of the Cathedral of Notre-Dame in Paris. In 1990 he succeeded Gaston Litaize as organ professor at the Academy of Music at St. Maur-des- Fossés, and in 1995 he was appointed professor of organ at the Paris Conservatory, where he continues to teach today. Not wishing to specialize in a particular repertoire, Olivier Latry prefers to explore all styles of organ music, as well as the art of improvisation. In 2000, to celebrate Olivier Messiaen as one of the greatest composers of the 20th century, Mr. Latry performed three complete cycles (six recitals each) of Messiaen’s organ music in Paris, New York, and London. He has also inaugurated many significant concert hall organs around the world, including Verizon Hall in Philadelphia, the Palace of the Arts in Budapest, and the Musikverein in Vienna. In 2014 he performed the inaugural concerts at La Maison Symphonique in Montreal and in the inaugural concert series at London’s Royal Festival Hall. In addition to concerts and teaching, Mr. Latry has made many recordings on France’s BNL label, featuring music of Bach, Widor’s organ symphonies 5 and 6, Vierné’s organ sym-

week 22 guest artist 59 phonies 2 and 3, and the complete organ works of Duruflé. With Deutsche Grammophon he has recorded “Midnight at Notre-Dame” (transcriptions for the organ), organ works of César Franck, and the complete organ works of Messiaen. He has also recorded Poulenc’s Concerto for Organ and Barber’s Toccata Festiva with the Philadelphia Orchestra, and Jongen’s Symphonie Concertante with the Liège Orchestra. His most recent recording on the Naïve label is entitled “Trois Siècles d’Orgue Notre-Dame de Paris” and features music composed by past and current organists of Notre-Dame Cathedral. In recognition of his distinguished work in the field of organ performance and teaching, Mr. Latry has received many prestigious awards and honorary degrees, including the Prix de la Fondation Cino et Simone Del Duca (Institut de France–Académie des Beaux-Arts) in 2000, as well as honorary fellowships from the North and Midlands School of Music (UK) in 2006, and from the Royal College of Organists (UK) in 2007. He was named “International Performer of the Year” by the New York City chapter of the American Guild of Organists in April 2009 and in 2010 received an honorary doctorate from McGill University in Montreal, Canada. Olivier Latry made his Boston Symphony Orchestra debut, his only previous appearance with the BSO, in March 2013, as soloist in Saint-Saëns’s Organ Symphony with Christoph Eschenbach conducting.

week 22 guest artist 61 The Great Benefactors

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

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

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

five million Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • 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 • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • 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 • 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 (2)

62 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 • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard Fennell • Anna E. Finnerty ‡ • 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 ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • 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 • 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 • Kristin and Roger Servison • 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 (8)

‡ Deceased

week 22 the great benefactors 63

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. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by March 11, 2015. For more information about joining the Higginson Society, contact Leslie Antoniel, Leadership Gifts Officer, at (617) 638-9259 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

weeks 22 maestro circle 65 encore $25,000 to $49,999 Jim and Virginia Aisner • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Mr. and Mrs. Jeffrey E. Marshall • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • 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 $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Lloyd Axelrod, M.D. • 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. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Katherine Chapman and Thomas Stemberg • Ernest Cravalho and Ruth Tuomala • 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 • Deborah and Philip Edmundson • Roger and Judith Feingold • Mr. Earl N. Feldman and Mrs. Sarah Scott • Laurel E. Friedman • Dr. David Fromm • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Jody and Tom Gill • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockﬁeld and Dr. Thomas Byrne • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Mr. Thomas Ying Kuo and Ms. Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Dr. and Mrs. Joseph B. Martin • Mr. ‡ and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Dr. Martin C. Mihm, Jr. • Ann Merriﬁeld and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Solange Skinner • Christopher and Cary Smallhorn • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

66 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • 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 • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Happy and Bob Doran • Julie and Ronald M. Druker • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Shirley and Richard Fennell • Beth and Richard Fentin • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Mrs. Nancy R. Herndon • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Diana O. Tottenham • John Travis • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

weeks 22 the higginson society 67 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Mrs. Mary R. Anderson • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Donald P. Barker, M.D. • Mr. and Mrs. Eugene F. Barnes III • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Marion and Philip Bianchi • Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Gertrude S. Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. George Y. Cha • Yi-Hsin Chang and Eliot Morgan • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Dr. and Mrs. Francis de Marneffe • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Peter Erichsen and David Palumb • Elizabeth and Frederic Eustis • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Mr. David Gifford, In honor of Ray and Maria Stata • Mr. Nelson S. Gifford • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green • Harriet and George Greenﬁeld • Ms. Paula Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mary and Harry Hintlian • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Cerise Lim Jacobs, for Charles • Dr. and Mrs. G. Timothy Johnson • Susan Johnston • Teresa Kaltz • Elizabeth Kent • Mary S. Kingsbery • Margaret and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Dr. and Mrs. David Kosowsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. William Leatherman • Emily Lewis • Alice Libby and Mark Costanzo • Dagmar K. Liles • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • David Margolin and Nancy Bernhard • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Takako Masamune • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Richard S. Milstein, Esq. • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Bob and Kathryn O’Connell • John O’Leary • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Mr. Peter Parker and Ms. Susan Clare • Dr. and Mrs. Bruce Pastor • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Helen C. Powell • Michael C.J. Putnam •

68 Jane M. Rabb • Helen and Peter Randolph • Mr. and Mrs. Michael Rater • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Marjorie and Walter Salmon ‡ • Joanne Zervas Sattley • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Betsy and Will Shields • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanﬁll • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Galen and Anne Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Matthew and Susan Weatherbie • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • The Workman Family • The Workman Family • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (13)

weeks 22 the higginson society 69 BSO Season Sponsors 2014–15 Season

Bank of America’s support of the arts reﬂects our belief that the arts are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. As an American company, our program has supported the arts sector in our nation while acting as a cultural diplomat through global programs such as international tours of the Chicago Symphony Orchestra and the Alvin Ailey American Dance Theater, support of museums, theater, Bob Gallery and dance worldwide, and our ﬂagship Art Conservation Project, which Massachusetts President, conserves the art of many nations and cultures. Bank of America

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efﬁcient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

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].

70 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman, President outreach programs give both area students and students from around and CEO 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.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the ofﬁcial hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

Commonwealth Worldwide Chauffeured Transportation is proud to be the Ofﬁcial Chauffeured Transportation of the Boston Symphony Orchestra Dawson Rutter and Boston Pops. The BSO has delighted and enriched the Boston com- President and CEO munity 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.

weeks 22 bso season sponsors and season supporting sponsors 71

Administration

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

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer boston pops Dennis Alves, Director of Artistic Planning 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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 22 administration 73 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

Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Amanda Roosevelt, Assistant Manager, Planned Giving • Alexandria Sieja, Manager, 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 • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • 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 22 administration 75 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

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

week 22 administration 77 78 Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Richard Pokorny • Recruitment/Retention/Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Matthew Hott

week 22 administration 79 Next Program…

Thursday, April 2, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am in Symphony Hall) Thursday, April 2, 8pm Friday, April 3, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, April 4, 8pm

andris nelsons conducting

shostakovich passacaglia from act ii of the opera “lady macbeth of mtsensk,” opus 29

beethoven violin concerto in d, opus 61 Allegro ma non troppo Larghetto Rondo christian tetzlaff

{intermission}

shostakovich symphony no. 10 in e minor, opus 93 Moderato Allegro Allegretto Andante—Allegro

Renowned German violinist Christian Tetzlaff joins Andris Nelsons and the BSO for Beethoven’s peerless Violin Concerto, which, through its lyricism, intensely musical virtuosity, and expansive scope elevated the genre of the violin concerto to ambitious new heights. Shostakovich—a Beethoven devotee—purportedly wrote his Symphony No. 10 as a response to Joseph Stalin’s death in 1953. Considered one of his finest, most characteristic orchestral works, the musically and emotionally rich Tenth seems partly to have been an exorcism of his conflicted personal feelings toward the Soviet dictator. Opening the program is the dramatic Passacaglia from Shostakovich’s opera Lady Macbeth of Mtsensk, which, despite its immediate popularity when premiered in 1934, brought severe criticism two years later from the Stalinist regime that shad- owed the composer’s life for decades to come.

80 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, April 2, 10:30am (Open Rehearsal) Thursday ‘A’ April 23, 8-10:10 Thursday April 2, 8-10:20 Friday ‘B’ April 24, 1:30-3:40 (non-subscription) Saturday ‘A’ April 25, 8-10:10 Friday ‘A’ April 3, 1:30-3:50 Tuesday ‘B’ April 28, 8-10:10 Saturday ‘B’ April 4, 8-10:20 BERNARDHAITINK, conductor ANDRISNELSONS, conductor JEAN-YVESTHIBAUDET, piano CHRISTIANTETZLAFF, violin RAVEL Mother Goose (complete) SHOSTAKOVICH Passacaglia from the opera RAVEL Piano Concerto in G Lady Macbeth of Mtsensk ADÈS Three Studies from Couperin BEETHOVEN Violin Concerto MOZART Symphony No. 36, Linz SHOSTAKOVICH Symphony No. 10

Sunday, April 26, 3pm Thursday ‘D” April 9, 8-10 Jordan Hall, New England Conservatory UnderScore Friday April 10, 8-10:10 BOSTONSYMPHONYCHAMBERPLAYERS (includes comments from the stage) with JEAN-YVESTHIBAUDET, piano Saturday ‘A’ April 11, 8-10 Tuesday ‘C’ April 14, 8-10 FRANÇAIX Dixtuor, for wind quintet and string quintet ANDRISNELSONS, conductor POULENC Sextet for piano and winds RICHARDGOODE, piano FAURÉ Piano Quartet No. 1 in SCHULLER Dreamscape C minor, Op. 15 MOZART Piano Concerto No. 27 in B-flat, K.595 STRAUSS Ein Heldenleben

Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, 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. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 22 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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 (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are 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.

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 22 symphony hall information 83 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. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening 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 $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. 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 Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.