Week 15 Schumann Bruckner

2018–19 season andris nelsons bostonmusic director symphony orchestra week 15 schumann bruckner

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 15

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 an epiphany in london: music and sound, sound and music by gerald elias 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Robert Schumann 43 Anton Bruckner 57 To Read and Hear More…

Guest Artist

61 Yuja Wang

66 sponsors and donors 86 future programs 90 symphony hall exit plan 9 1 symphony hall information

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

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Ansel Adams, The Tetons and Snake River, Grand Teton National Park, Wyoming, about 1942. Gelatin silver print. The Lane Collection. © The Ansel Adams Publishing Rights Trust.

Through February 24 mfa.org/anseladams

Sponsored by With proud recognition of The Wilderness Society and the League of Conservation Voters, made possible by Scott Nathan and Laura DeBonis. Sponsored by Northern Trust. Additional support from the Robert and Jane Burke Fund for Exhibitions, and Peter and Catherine Creighton. With gratitude to the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust for its generous support of Photography at the MFA. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich † • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

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

week 15 trustees and advisors 3 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

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

Membership as of September 20, 2018

† Deceased

week 15 trustees and advisors 5

BSO News

Tanglewood Learning Institute (TLI) Launching in Summer 2019 This summer, Tanglewood opens the Linde Center for Music and Learning, marking a transformational new era of programming in Tanglewood’s illustrious eighty-two-year history. The new Linde Center will serve as summer home for the Tanglewood Learning Institute, which will launch in 2019, introducing dynamic and leading-edge programs connecting patrons with musicians, artists, students, academics, and cultural leaders through wide-ranging activities, as part of a new initiative to inspire curiosity and foster a deeper experience of Tanglewood concerts and classical music, while exploring ideas resonant with the wider culture. Intended for both newcomers to Tanglewood and longtime festival patrons, TLI’s expan- sive programs will explore the ways in which music illuminates the human experience by linking Tanglewood performances to relevant themes from the worlds of visual arts, film, history, philosophy, and current events, offering experiences that dissolve the traditional barrier between performer and audience. TLI’s immersion weekends, interactive talks, films, open rehearsals, master classes, unconventional performances, and visual arts programs will use music as a point of departure and a gateway leading to spirited dialogue, designed for all who aspire to expand their horizons and connect with other curious knowledge- seekers. Within the atmosphere of the iconic Tanglewood grounds and beautiful vistas, TLI programs will encourage thought-provoking conversation and explore myriad ways, through the lens of music, to better understand our world. Tickets to the inaugural season of Tanglewood Learning Institute programs are now on sale. For complete program details, and to order tickets, please visit www.TLI.org or call 1-888-266-1200.

Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, March 3, at 3 p.m. For the third program of their four-concert Jordan Hall series this season, taking place on Sunday, January 13, at 3 p.m. at Jordan Hall, the Boston Symphony Chamber Players present a highlight of their 2018-19 season, the world premiere of Five Reflections on Water, for winds and strings, a new work commissioned by the BSO from the Russian-born British composer Elena Langer. Also on the program are Barber’s Summer Music for wind quintet, Opus 31; Rossini’s Duo in D for cello and double bass; and Michael Gandolfi’s

week 15 bso news 7 summer 2019

season sponsors TICKETS ON SALE NOW! JUNE 15-SEPTEMBER 1 888-266-1200 • tanglewood.org Plain Song, Fantastic Dances, for winds and strings. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on selected Sunday afternoons at 3 p.m., followed by a coffee-and-dessert reception for the audience and musicians. This season’s next Community Chamber program—on Sunday, February 17, at the Mosesian Theater in Watertown—features BSO members Cynthia Meyers, flute; Robert Sheena, oboe; Michael Wayne, clarinet; Suzanne Nelsen, bassoon, and Jason Snider, horn, in music of Irving Fine, György Ligeti, Luciano Berio, and Paul Hindemith. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Sunday-afternoon Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

“BSO 360” Now Available for Viewing on the BSO’s Website, bso.org “BSO 360,” a five-part behind-the-scenes series self-produced by the BSO and airing nationally on PBS, can now be viewed on the BSO’s website, bso.org. There are five thirty- minute episodes capturing the spirit and showcasing all aspects of the BSO, including in-depth profiles of Music Director Andris Nelsons, Youth and Family Concerts Conductor Thomas Wilkins, and Tanglewood Festival Chorus Conductor James Burton; an insider’s look at the Boston Pops Fireworks Spectacular; an historical look at Boston Pops conductors with Keith Lockhart; and segments on Leonard Bernstein, Tanglewood, and the BSO audition process. The show has already been aired locally on WGBX (Channel 44); visit APTonline.org for listings and more information. Funding for “BSO 360” was provided by Cynthia and Oliver Curme.

2O18/2O19 SEASON

From Bruckner to the Moon MARCH 2, 2019 8PM Melinda Wagner Proceed, Moon FIRST BOSTON PERFORMANCE Francis Poulenc Concerto for Two Pianos and Orchestra Leslie Amper and Randall Hodgkinson, duo piano Anton Bruckner Symphony No. 3 in D Minor (“Wagner”) BOSTON UNIVERSITY TICKETS ON SALE NEPHILHARMONIC.ORG TSAI PERFORMANCE CENTER

week 15 bso news 9 individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Nathan R. Miller Family gifts to Brigham and Women’s Hospital. Guest Artist Fund Furthermore, Nathan was a longstanding Thursday, February 14, 2019 supporter of Agassiz Village for Under- Thursday evening’s appearance by Yuja privileged Children in West Poland, ME. Wang is supported by the Nathan R. Miller He attended the camp, both as a camper Family Guest Artist Fund. Nathan was and a counselor, and served as its chairman elected a BSO Trustee in 2003, having of the board. served as an Overseer from 1988 to 2001 Nathan and Lillian, who attended the and an Overseer Emeritus from 2001 to New England Conservatory of Music, 2003. In 2011, Nathan was elevated to Life were married for seventy-two years. Trustee, a title he held until he passed away The couple had one daughter, Barbara G. on October 7, 2013. Sidel, two granddaughters, and four great- Nathan and his wife, Lillian (who passed grandchildren. A true gentleman and a away on September 4, 2012), started generous and caring patron of the arts, subscribing to the BSO in 1984. Both Nathan has helped make it possible for Nathan and Lillian had a strong commitment countless others to receive pleasure and to music and the universal joy it could bring comfort from the sound of music. The to people of all ages and backgrounds. BSO BSO is grateful for their longstanding Great Benefactors, the Millers are well generosity and, with this concert, we fondly known for their gift of the Miller Room at remember Nathan and Lillian and all of their Symphony Hall. In 1985, the couple’s regard contributions to our musical mission. for then BSO Music Director Seiji Ozawa prompted them to establish the Seiji The Alan and Lisa Dynner Concert Ozawa Endowed Conducting Fellowship at the Tanglewood Music Center. They also Saturday, February 16, 2019 endowed a guest artist fund, as well as the The performance on Saturday evening is Lillian and Nathan R. Miller Chair in the named for BSO Advisor Emeritus Alan Roy cello section of the BSO for a period of Dynner and his wife Lisa, who became twenty years starting in 1987, among many BSO Great Benefactors during the 2014- other gifts. 2015 season. Alan and Lisa are active supporters of the Symphony. The BSO is an Nathan grew up in Boston and began his important part of their lives. In 2013 they career by founding a small accounting were married at Seranak, the former home firm, which, through his leadership and at Tanglewood of legendary BSO music business savvy, grew into Nathan R. Miller director Serge Koussevitzky. Alan and Lisa Properties, a top Boston-area real estate attend BSO concerts, Opening Nights, firm. In addition to the BSO, the Millers board meetings, and dinners and special were generous donors to other non-profits functions. in the area. They made several gifts to Nathan’s alma mater Bentley College, Alan was elected to the BSO Board of where there is a career service center, Overseers in 2002. In 2006 he made a dormitory, and parking deck named in gift to the BSO in memory of his late their honor. The couple also endowed a wife Akiko to replace the stage floor residence hall at Suffolk University which is at Symphony Hall, and established in named in their honor, and made leadership perpetuity a Tanglewood Music Center

10 Fellowship. In 2015, Alan and Lisa made a by Andris Nelsons, featuring Yuja Wang in gift to the BSO of the Musicians’ Terrace Schumann’s Piano Concerto, and continuing at the Serge Koussevitzky Music Shed at Mr. Nelson’s traversal of the Bruckner sym- Tanglewood. Alan became an Overseer phonies with Symphony No. 9 (February 16; Emeritus in 2014. He previously served for encore February 25); next week’s program six years as chair of the BSO Business Partners under Maestro Nelsons featuring a complete and has been a member of the Campaign concert performance of Puccini’s Suor Angelica Steering Committee, Development with Kristine Opolais and Violeta Urmana Committee, Education Committee, Leader- in the principal roles, preceded by music of ship Gifts Committee, Overseers Executive Lili Boulanger and Debussy (February 23; Committee, Overseers Nominating encore March 4), and the following week’s Committee, and Ad Hoc BSO in Residence program, again to be led by Andris Nelsons, Committee. Alan has been a BSO subscrib- of Dvoˇrák’s Stabat Mater with Ms. Opolais, er for twenty-one years, beginning in 1997 Ms. Urmana, tenor Dmytro Popov, bass Ain when he moved to Boston. Alan and Lisa Anger, and the Tanglewood Festival Chorus are members of the Higginson Society at (March 2; encore March 11). the Encore level. BSO Members in Concert Go Behind the Scenes: The Irving W. and Charlotte F. Rabb The Walden Chamber Players, whose mem- Symphony Hall Tours bership includes BSO associate concertmaster Alexander Velinzon and violinist The Irving W. and Charlotte F. Rabb Sym- Tatiana Dimitriades, perform as part of the phony Hall Tours, named in honor of the South Berkshire Concerts series at Bard Rabbs’ devotion to Symphony Hall through College at Simon’s Rock, Great Barrington, a gift from their children James and Melinda MA, on Sunday, February 17, at 3 p.m. The Rabb and Betty (Rabb) and Jack Schafer, program includes two Bach Preludes and provide a rare opportunity to go behind Fugues as arranged by Mozart, K404a; the scenes at Symphony Hall. In these free, Schnittke’s String Trio for violin, viola, and guided tours, experienced members of the cello; and Schubert’s Quintet in A for piano Boston Symphony Association of Volunteers and strings, D.667, Trout. Admission is free unfold the history and traditions of the Bos- ($10 suggested donation), with seating is ton Symphony Orchestra—its musicians, on a first-come, first-served basis. For infor- conductors, and supporters—as well as mation, visit simons-rock.edu or call (413) offer in-depth information about the Hall 528-7212. itself. Tours are offered on select weekdays at 4 p.m. and some Saturdays at 3:30 p.m. Founded by former BSO cellist Jonathan during the BSO season. Please visit bso.org/ Miller, the Boston Artists Ensemble per- tours for more information and to register. forms a program entitled “Pierrot, Mystery, and Romance” on Friday, March 1, at 8 p.m. at Hamilton Hall in Salem and on Sunday, BSO Broadcasts on WCRB March 3, at 3 p.m. at St. Paul’s Episcopal BSO concerts are heard on the radio at Church, 15 St. Paul Street, Brookline. BSO 99.5 WCRB. Saturday-night concerts are violinists Tatiana Dimitriades and Lucia Lin, broadcast live at 8 p.m. with host Ron Della BSO violist Rebecca Gitter, and pianist Diane Chiesa, and encore broadcasts are aired on Walsh join Mr. Miller for this program, which Monday nights at 8 p.m. In addition, inter- includes Debussy’s Violin Sonata and Cello views with guest conductors, soloists, and Sonata, Schumann’s Piano Quintet in E-flat, BSO musicians are available online at clas- Op. 44, and a “mystery piece.” Tickets are sicalwcrb.org/bso. Current and upcoming $30 (discounts for seniors and students), broadcasts include this week’s program led available at the door. For more information,

week 15 bso news 11 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. visit bostonartistsensemble.org or call (617) acknowledges your consent to such photog- 964-6553. raphy, filming, and recording for possible use in any and all media. Thank you, and enjoy BSO members Lucia Lin, violin, and Owen the concert. Young, cello, are soloists in Rózsa’s Variations for Violin and Cello with the Pro Arte Cham- ber Orchestra under principal conductor Those Electronic Devices… Kevin Rhodes, part of a program entitled As the presence of smartphones, tablets, and “Old Friends—New Music” on Saturday, other electronic devices used for commu- March 2, at 8 p.m. at First Baptist Church, nication, note-taking, and photography has 848 Beacon Street, Newton. Also on the increased, there have also been continuing program are the suite from Copland’s expressions of concern from concertgoers Appalachian Spring and works by Newell and musicians who find themselves dis- Hendricks and Gabriela Lena Frank. Tickets tracted not only by the illuminated screens are $20 to $70, available at proarte.org or on these devices, but also by the physical by calling (617) 779-0900. movements that accompany their use. For Retired BSO principal trombonist Ronald this reason, and as a courtesy both to those Barron, with pianist Larry Wallach, cornet on stage and those around you, we respect- player Allan Dean, percussionists David fully request that all such electronic devices Fields and Bailey Forfa, and bass John be completely turned off and kept from view Suters, presents a recital of American music while BSO performances are in progress. for trombone on Sunday, March 3, at Rich- In addition, please also keep in mind that mond Congregational Church, 1515 State taking pictures of the orchestra—whether Road/Route 41, in Richmond, MA. The photographs or videos—is prohibited during program includes music of Hindemith, Ives, concerts. Thank you very much for your James Stephenson, Steven Winteregg, Tommy cooperation. Dorsey, and Clay Smith. Tickets not required; donations (by check) accepted in support of the Emergency Fuel Assistance Fund. Comings and Goings... Please note that latecomers will be seated On Camera With the BSO by the patron service staff during the first convenient pause in the program. In addition, The Boston Symphony Orchestra frequently please also note that patrons who leave the records concerts or portions of concerts auditorium during the performance will not for archival and promotional purposes via be allowed to reenter until the next convenient- our on-site video control room and robotic pause in the program, so as not to disturb the cameras located throughout Symphony Hall. performers or other audience members while Please be aware that portions of this con- the music is in progress. We thank you for cert may be filmed, and that your presence your cooperation in this matter.

week 15 bso news 13 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 15 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 15 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 15 boston symphony orchestra 19

Chris Christodoulou

An Epiphany in London Music and Sound, Sound and Music by Gerald Elias

Former BSO violinist Gerald Elias, who continues to perform with the orchestra at Tanglewood and on tour, experienced an epiphany while playing in a performance of Mahler’s Third Symphony while on tour with the BSO last summer.

The uniquely creative and iconoclastic American composer Charles Ives once provoca- tively wrote: “My God! What has sound got to do with music!” (see bottom of page 24)— which may help explain why his music is not as popular as I believe it should be. The point he was trying to make is that the musical idea is paramount and is separate from (and, in his opinion, shouldn’t be tarnished by) more mundane considerations, such as the orthodoxy of correctness in music theory and composition, or how exactly—or in some cases, whether—it can be accurately executed.

We usually think of music and the sound of the music as being one and the same, but at the beginning of last fall’s Boston Symphony tour to Europe, in London, Ives’s comment popped into my head in an unexpected way. As we forged through the Symphony No. 3 by Gustav Mahler—one of the longest symphonies ever composed— I had ample opportunity to marvel at how the BSO is consistently able to fill cavernous

The first performance of the BSO’s 2018 European tour—Mahler’s Symphony No. 3 at the BBC Proms in London’s Royal Albert Hall, September 2, 2018

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Royal Albert Hall’s 5,000+ seats along with thousands more on the floor, cramped together like a rush-hour crowd at the Government Center T-station, who have the dogged determination to stand from first note to last of the ninety-minute composition.

Mahler’s music is not easy to listen to. It is a challenge: complex, sometimes bafflingly so, with bits of melody tossed from one unlikely instrument to another, and counter- melodies ghosting in the background or suddenly thrust forward. His symphonies are also very long—a marathon compared to a Haydn sprint. And among Mahler symphonies, it requires long arms indeed to embrace No. 3. Yet his music, including the No. 3, is adored by so many. “What can the reason be for that?” I asked myself as I chugged, huffing and puffing, through the half-hour first movement.

There are probably different answers to that question: the folk-like melodies, the monu- mental, triumphant climaxes, the heart-on-the-sleeve pathos of his Adagios. But an answer I came up with, during the second extended iterance of the pastoral offstage post horn solo, shocked me out of whatever nagging jetlag remained from our flight from Boston. It wasn’t really an answer, though. It was actually another question: “My God! What has music got to do with sound?” This is the reverse of Ives’s thesis, but it doesn’t necessarily contradict it. What it sug- gests is that it’s the very sound of the orchestra—irradiating the concert hall with sonic vibrations—that people love, perhaps even more than anything else about the music. If you extend this notion, then it really doesn’t matter who the composer is or what par- ticular composition is being played. All that business about melody, rhythm, harmony,

week 15 23 counterpoint—you name it—would take a back seat to the combination of timbres so unique to the symphony orchestra. I know, in the extreme it seems absurd. But maybe the sound itself is the true glory.

Even the majority of humans who do not care for classical music would have to admit that there’s nothing like the sound of a symphony orchestra because, frankly, it’s true. There’s no other combination of instruments that produces anything like the sound of a symphony orchestra. And—as I reflected during the prolonged fifth-movement coffee break Mahler graciously provided the violins while the rest of the orchestra, along with the chorus and soloist, carried the load—how it got that sound is no accident.

It started out in the mid-18th century, when orchestras were essentially string ensembles. Sometimes a couple of horns and oboes were included for color, and were optional. Then Haydn and Mozart came along, adding things like flutes, clarinets, trumpets, and timpani. Then Beethoven, who brilliantly added trombones to the mix in the finale of the Fifth Symphony. Why do that? It couldn’t be because audiences demanded trombones, because they had never heard them in a symphony. Clearly, Beethoven, and others

Charles Ives: On the Distinction Between Sound and Music

A manuscript score is brought to a concertmaster—he may be a violinist—he is kindly disposed, he looks it over, and casually fastens on a passage: “That’s bad for the fiddles— it doesn’t hang just right—write it like this, they will play it better.” But that one phrase is the germ of the whole thing. “Never mind, it will fit the hand better this way—it will sound better.”

My God! What has sound got to do with music! The waiter brings the only fresh eggs he has, but the man at breakfast sends it back because it doesn’t fit his eggcup. Why can’t music go out in the same way it comes in to a man, without having to crawl over a fence of sounds, thoraxes, catguts, wire, wood, and brass? Consecutive fifths are as harmless as blue laws compared with the relentless tyranny of the “media.” The instrument!— there is the perennial difficulty—there is music’s limitation.... Is it the composer’s fault that man only has ten fingers? Why can’t a musical thought be presented as it is born— perchance a “bastard of the slums,” or a “daughter of a bishop”—and if it happens to go better later on a bass drum than upon a harp, get a good bass drummer. That music must be heard is not essential—what it sounds like may not be what it is [Ives’s italics].

Charles Ives, Essays 84

24 before and after him, perceived something very special about the sound that was evolv- ing in orchestras that performed symphonies.

By the mid-19th century, the symphony orchestra, as it came to be called, comprised a standard template of instrumentation—with plenty of variation, for sure—not by fiat, but by experimentation, having been determined by composers to evoke the strongest responses among listeners. That basic instrumentation has remained remarkably stable to this day: Strings: Violins I and II, Violas, Cellos, Basses Winds: Flutes (2+piccolo), Oboes (2+English horn), Clarinets (2+bass clarinet), Bassoons (2+Contrabassoon) Brass: Horns (4), Trumpets (2), Trombones (3), Tuba Percussion: Timpani, assorted other instruments including snare drum and cymbals; Harp But why? That’s a question I’ve been asking myself for fifty years. There’s something in that combination of sound waves and timbres bombarding listeners that evokes powerful, sometimes profound emotions. Some of it, no doubt, is cultural, in that through our Western ears we associate certain musical gestures with shared esthetic history. One can easily conjure up an image of Roman centurions upon hearing brass fanfares, for example.

Yet the love of what we call “classical” music has spread all around the globe. Some of it is probably neural: Certain combinations of tones activate parts of our brain in ways

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week 15 25

Hilary Scott

The Tanglewood Music Center Orchestra in concert, July 2015 in Seiji Ozawa Hall

no one yet totally understands. But what I think might be the most important part of the answer—and might explain why people still come to live concerts even when they can stay at home and listen to the same music for free—is that the vibrations created by the sound waves of a symphony orchestra have a profoundly stimulating physical effect on the listener’s body. And it’s for this reason I came to this idea that sound and the musical composition play different, if complementary roles in how we respond to music.

It may even help explain why some listeners revere the symphonies of Anton Bruckner, while others find them static and overly academic. In terms of the sheer sound, however, maybe that’s where the magic is. Maybe that’s the “right” way to listen to Bruckner. Because there have been a few conductors who—as a result of their insight, technical acumen, or supernatural ability to channel Bruckner’s spirit—were able to create such an overwhelmingly glorious sound, their performances were majestically profound. One of those conductors was Klaus Tennstedt, who seemed to be on a higher spiritual plane when he conducted Bruckner. Is it possible that on at least one occasion his body actually began to glow? Another was Kurt Sanderling, who crafted the most beautiful brass ensemble sound I’ve ever heard before or since. (This story is a total aside: Sanderling, a Jew, fled his native Germany to the Soviet Union in 1936 upon the ascension of Nazism, going from one totalitarian state to another. During a rehearsal of Bruckner’s Symphony No. 3 with the Boston Symphony in 1988, shortly before the dissolution of the Soviet Union, he made a rare mistake in his beat pattern, causing things to fall apart. He tapped his baton on the podium and made the following comment: “In my country they have a saying. Only conductors and KGB never make mistakes. Of course that’s not true.” He paused with the acute sense of timing so essential to great conductors, then delivered the punchline. “Sometimes KGB make mistakes.” The rest of the rehearsal went flawlessly.)

The idea that sound is as important as music may also help explain why some conductors

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Independent Living | Assisted Living | Mind & Memory Approach *Opening summer 2019. Pending EOEA licensure. are considered great, others passable, and others [you fill in the blank]. The same great orchestra can perform the same great symphony with two different conductors. One performance resonates with the audience (on many levels), the other falls flat. Why? Certainly, a sense of timing, an understanding of architecture, style, rhythm, balance, drama, are all important considerations. But when I speak to audience members after a performance, what I’ve so often heard is, the conductor “got such a wonderful sound out of the orchestra.” Whether it was Seiji conducting Berlioz and Bartók, Colin Davis with Sibelius and Schubert, Kurt Masur with Brahms and Strauss, Charles Dutoit with Ravel and Debussy, or Andris Nelsons with Shostakovich and Mahler, all had their unique imprint on the sound of the orchestra.

As you listen to tonight’s program, certainly enjoy the music but don’t forget to savor the sound! There’s nothing like it. gerald elias is the author of the six-part Daniel Jacobus mystery series (including two audio books) and of “Symphonies & Scorpions,” which relives via stories and photos the BSO’s history- making 1979 concert tour to China and its return in 2014. He has also written many short stories and a new children’s story, “Maestro, the Potbellied Pig.” An expanded version of a BSO essay he wrote last season, “War & Peace. And Music,” was recently awarded first prize in creative nonfiction by the Utah Division of Arts and Museums.

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week 15 29

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, February 14, 8pm | sponsored by commonwealth worldwide executive transportation Friday, February 15, 1:30pm Saturday, February 16, 8pm | the alan and lisa dynner concert

andris nelsons conducting

schumann piano concerto in a minor, opus 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace yuja wang

{intermission} Marco Borggreve

32 bruckner symphony no. 9 in d minor Feierlich. Misterioso [Solemn, mysterious] Scherzo: Bewegt, lebhaft [Moving, lively]; Trio: Schnell [Fast] Adagio: Langsam, feierlich [Very slow, solemn]

thursday evening’s appearance by yuja wang is supported by the nathan r. miller family guest artist fund. thursday evening’s performance of schumann’s piano concerto is supported by a generous gift from jane and neil pappalardo. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

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

week 15 program 33 The Program in Brief...

Robert Schumann was a fine pianist; his wife Clara was an outstanding, renowned virtuoso with a career of her own as a composer. After their marriage in 1840, it was Clara’s wish and Robert’s ambition that he compose a concerto for her. His first attempt was the single-movement Fantasie, completed in 1841; but after this met with apathy from publishers and concert promoters he added two more movements, making it a full- fledged concerto, which was completed by 1845. The concerto’s special characteristic is a sensitive interweaving of the piano and orchestral parts in music by turns powerful and lyrical. While virtuosic and Romantic, it eschews the brilliant-for-brilliant’s-sake fireworks that had become the norm for the mid-19th-century piano concerto.

Anton Bruckner’s uncertainties and insecurities seriously affected his musical output. A product of the Austrian countryside, he was a fish out of water throughout his years in Vienna, where he taught at the Conservatory while struggling to make his name as a composer. He idolized Richard Wagner, which put him at odds with the important, staunchly Brahms-oriented Viennese critics. Filled with self-doubt, he expended much time and energy revisiting earlier works, hoping they would prove more palatable to audiences of the time, rather than producing new ones. He spent nearly eight years working and reworking his Ninth Symphony—which was left unfinished, lacking a fourth-movement finale, at his death in 1896.

Bruckner’s symphonies are often called “cathedrals in sound”—a phrase reflecting not only the composer’s deep-seated religious conviction, but also that he was one of the greatest organists of his day. Though their typical four-movement structure, rhythmic profile, and lilting, Schubertian lyricism are rooted in the Viennese tradition, his symphonies are Wagnerian in scale, conception, and instrumentation—typically running at least an hour, even in the case of the unfinished Ninth. Given the depth, tonal beauty, and grandeur of Bruckner’s orchestral palette, they provide devotees with a transporting, even mystical experience in the concert hall.

Bruckner likely knew he would not live to complete his Ninth Symphony, even suggesting that his Te Deum for chorus and orchestra, completed a dozen years before his death, might serve as a finale. But so compelling is the Ninth’s moving, long-breathed Adagio that it’s hard to feel the need for more. Several minutes before the end, we get what is perhaps a glimpse of heaven. After this comes a brief, quiet reminiscence of the opening of Bruckner’s Seventh—the work that years earlier provided him his greatest triumph. The final moments of the Ninth bring a thoughtful, consoling close to a hard-fought struggle, ending in quiet, calm simplicity.

Robert Kirzinger/Marc Mandel

34 Robert Schumann Piano Concerto in A minor, Opus 54

ROBERT SCHUMANN was born in Zwickau, Saxony, on June 8, 1810, and died in an asylum at Endenich, near Bonn, on July 29, 1856. Between May 4 and 20 of 1841, he composed a “Concert Fantasy” in A minor for piano and orchestra, and on August 8 that year, Clara Schumann played it through twice at a closed rehearsal of the Leipzig Gewandhaus Orchestra with Felix Mendelssohn conducting. Four years later, beginning in late May 1845, he reworked the Fantasy into the first movement of his Piano Concerto, completing the second movement on July 16 and the finale on July 31 that same year. Clara Schumann was soloist for the first performance of the concerto on December 4, 1845, in Dresden, with Ferdinand Hiller, to whom the work is dedicated, conducting.

IN ADDITION TO THE SOLO PIANO, the score of Schumann’s Piano Concerto calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

Clara Schumann, née Wieck, was a celebrated keyboard artist from her youth, and she was renowned through her long life (1819-96) for her musical intelligence, taste, sen- sibility, warm communicativeness, and truly uncommon ear for pianistic euphony. She was a gifted and skilled composer, and Brahms, who was profoundly attached to her when he was in his early twenties and she in her middle thirties—and indeed all his life, though eventually at a less dangerous temperature—never ceased to value her musical judgment.

Robert and Clara’s marriage, though in most ways extraordinarily happy, was difficult, what with his psychic fragility and her demanding and conflicting roles as an artist, an artist’s wife, and a mother who bore eight children in fourteen years. They met when Clara was nine and Robert—then an unwilling and easily distracted, moody, piano- playing law student at the University of Leipzig—came to her father, the celebrated piano pedagogue Fried rich Wieck, for lessons. It was in 1840, after various familial, legal, psychological, and financial obstacles, that they married. Most fo Schumann’s greatest piano works come from the difficult time preceding their marriage. 1840 be came his great year of song.

week 15 program notes 35 Program page for the first Boston Symphony performance of Schumann’s Piano Concerto on October 7, 1882, the opening concert of the BSO’s second season, with Carl Baermann as soloist and Georg Henschel conducting (BSO Archives)

36 Clara Schumann was ambitious for her thirty-year-old husband and urged him to con- quer the world of orchestral music as well. He had actually ventured into that territory a few times, making starts on four pi ano concertos and writing a rather je june sympho ny in G minor, but he had not yet met with success. He now went ahead and produced a superb Concert Fantasy with Orchestra for Clara, as well as writing two symphonies: the Spring (No. 1), and the first version of the D minor (now known almost exclusively in its revised form of 1851 and listed as No. 4). He could in terest neither publishers nor orches tras in the one-movement Con cert Fantasy, and so he ex panded it into a full-length three-movement concerto. In doing so he revised the original Fantasy, making choices, as almost always he was apt to do whenever he had second thoughts, in the direction of safety and conventionality. (One can only guess whether the revisions re flect Schu mann’s own musical convictions or responses to the urgings of the more conservative Clara.) The full-dress, three-movement concerto was introduced by Clara in Dresden in December 1845.*

In 1839, Robert had written to Clara: “Concerning concertos, I’ve already said to you they are hybrids of symphony, concerto, and big sonata. I see that I can’t write a concerto for virtuosi and have to think of something else.” He did. Now, in June 1845, while the metamorphosis of the Concert Fantasy was in progress, Clara Schumann noted in her diary how delighted she was at last to be getting “a big bravura piece” out of Rob ert (she meant one with orchestra), and to us, even if it is not dazzling by Liszt-Tchai kov sky-Rachmaninoff standards, the Schumann concerto is a satisfying occasion for pianistic display, while of course being also very much more than that. (On the other hand, compared to the concertos by Thalberg, Pixis, and Herz that Clara had played as a young prodigy, Schumann’s concerto, considered strictly as bravura stuff, is tame by comparison.)

Schumann’s “something else” was noticed. Most of the chroniclers of the first public performances, along with noticing how effective an advocate Clara was for the concer- to, were also attuned to the idea that something new—and very pleasing—was happening in this work. Many of them noted as well that the concerto needs an exceptionally at tentive and sensitive conductor. F.W.M., who reviewed the first performance in Leipzig on New Year’s Day 1846 for the Neue Zeitschrift für Musik, wrote that the many interchanges between solo and orchestra made the first movement harder to grasp at first hearing than the other two. One thing that strikes us about this first movement— but perhaps only in a very good performance—is how mercurial it is, how frequent, rapid, and sometimes radical its mood-swings are. Or, to put it another way, how Schuman n esque it is.

* The Fantasy in its original form was not heard again until the summer of 1967, when the pianist Malcolm Frager played it at a reading rehearsal with the Tanglewood Music Center Orchestra, Erich Leinsdorf conducting. The following summer, also at Tanglewood but with the Boston Symphony, Frager and Leinsdorf gave the Fantasy its first public performance, this time using it as the first movement of the piano concerto. Frager was a fervent champion of the original version of the first movement, playing it whenever he could persuade a conductor to let him do so.

week 15 program notes 37

Robert and Clara Schumann

The opening is as dramatic as can be. The orchestra fires the starting gun, a single eighth-note E, and the piano moves out of the blocks with a powerful cascade of fully voiced chords. Not only is the cascade itself dramatic, so is the contrast between it and the wistful oboe tune it introduces, and which the piano immediately repeats. Schumann, like many composers before him and quite a few since (as, for example, Alban Berg in his Violin Concerto), was fond of encoding names in musical notation. Bearing in mind that what we call B-natural the Germans call H, you can see that the first four notes of oboe theme could be taken to spell “Chiara,” or “CHiArA,” using those letters that have musical counterparts (C/B-natural/A/A) in this Italian version of Clara’s name, a version that occurs in Schumann’s fanciful prose writings and, in its affectionate diminutive of “Chiarina,” in his great solo piano work Carnaval of 1834-35. Whether or not Schumann intended it as “Chiara,” this oboe theme dominates the entire movement, and reappears also to effect the transition into the finale.*

Clara Schumann noted in her diary the delicacy of the way the piano and orchestra are interwoven, and among the pianist’s tasks is sometimes to be an accompanist—the lyric clarinet solo in the first movement is the most prominent example. And to be a good

* Composers who wrote themselves (as it were) into their music include J.S. Bach (B-flat/A/C/ B-natural, our B-flat being the Germans’ B and our B-natural the Germans’ H) and Dmitri Shosta- kovich (as DSCH, D/E-flat/C/B-natural, using the German transliteration SCHostakovich for the composer’s last name, and with our E-flat being the Germans’ S).—Ed.

week 15 program notes 39 NEW 2-CD SET! Following upon their previous Grammy-winning releases on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, this new, two-disc “Under Stalin’s Shadow” set from Andris Nelsons and the Boston Symphony Orchestra pairs live performances of the SYMPHONY NO. 7, “LENINGRAD,” from 1941, representing the resistance of the Russian people to the Nazi siege of that city, and the rarely heard, multi-faceted SYMPHONY NO. 6, from 1939. Filling out the set are the composer’s celebratory “Festive Overture,” Op. 96, and a suite from his incidental music to a 1940 Leningrad production of Shakespeare’s “King Lear.”

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40 accompanist means to be a superlative musician: intuitive, alert, ever listening. The pianist gets a grand, wonderfully sonorous cadenza at the end of the first movement, but above all the Schumann concerto is a work of conversation both intimate and playful— whether in the almost whimsically varied first movement, the confidences ex changed in the brief middle movement, or in the splendidly energized finale.

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

THE FIRST AMERICAN PERFORMANCE OF SCHUMANN’S PIANO CONCERTO was given by the Philharmonic Society of New York on March 26, 1859, at Niblo’s Garden, with Sebastian Bach Mills as soloist under the direction of Carl Bergmann. The first Boston performance of Schumann’s Piano Concerto took place on November 23, 1866, in a Harvard Musical Association concert, with soloist Otto Dresel and Carl Zerrahn conducting at the Boston Music Hall.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Schumann’s Piano Concerto was given on October 7, 1882, at the start of the orchestra’s second season, by conductor Georg Henschel with soloist Carl Baermann. The orchestra has since played the concerto with the following pianists and conductors: Anna Steiniger-Clark, Adele aus der Ohe, Baermann, Antoinette Szumowska, Ossip Gabrilowitsch, Fanny B. Zeisler, Ernest Schelling, and Harold Bauer (all under Wilhelm Gericke’s direction); Steiniger-Clark, Rafael Joseffy, Carl Faelten, Ignace Jan Paderewski, and Constantin Stern (under Arthur Nikisch); aus der Ohe and Joseffy (Emil Paur); Germaine Schnitzer, Olga Samaroff, Max Pauer, Norman Wilks, George C. Vieh, Josef Hofmann, Paderewski, Carl Friedberg, and Szumowska (Karl Muck); Wilks (Otto Urack); Schelling (Ernst Schmidt); Bauer, Benno Moiseiwitsch, Blanche Goode, Samaroff, Raymond Havens, Felix Fox, Constance McGlinchee, and Eugene Istomin (Pierre Monteux); Alfred Cortot, Irene Scharrer, Jesús María Sanromá, Myra Hess, Martha Baird, Eunice Norton, and Gladys Gleason (Serge Koussevitzky); Hofmann, Istomin, Jeanne- Marie Darré, and Theodore Lettvin (Richard Burgin); Nicole Henriot, Rudolf Serkin, Clifford Curzon, Van Cliburn, and Istomin (Charles Munch); Lettvin and Malcolm Frager (Erich Leinsdorf); Claude Frank (Thomas Schippers); Christoph Eschenbach (Rafael Frühbeck de Burgos and Michael Tilson Thomas); Alicia de Larrocha (Karel Anˇcerl and Neville Marriner); Michael Roll and Claudio Arrau (Colin Davis); Emil Gilels (Seiji Ozawa); Misha Dichter (Kazuyoshi Akiyama); Martha Argerich and Imogen Cooper (Ozawa); Leif Ove Andsnes (Roberto Abbado); Hélène Grimaud (Jeffrey Tate); Nelson Freire (Hans Graf and Kurt Masur); Radu Lupu (Christoph von Dohnányi); Andreas Haefliger (Jens Georg Bachmann); Garrick Ohlsson (Daniele Gatti and Shi-Yeon Sung); Maurizio Pollini (James Levine); Martin Helmchen (Dohnányi); Murray Perahia (Bernard Haitink); Paul Lewis (the most recent Tanglewood performance, with Sir Neville Marriner on July 19, 2015), and Jean-Frédéric Neuburger (the most recent subscription performances, with Juanjo Mena in January 2017).

week 15 program notes 41 Explore Memory Care Arts & Culture White Oak Cottages at Fox Hill Village offers a unique alternative Living at Fox Hill Village means the planning is done. for those who can no longer live at You just show up! Join your neighbors for an excursion of guided home due to memory impairment. tours, eateries and shops to explore. Make it easy and take the bus to With our specially designed Symphony Hall. Take day trips to Tanglewood, the cottages, philosophy of care, and Boston Ballet, the Wang Theatre and more! unique staffing model, we provide the very best living options for our With numerous intellectually stimulating outings, residents with dementia and a variety of adult learning programs highlighting Alzheimer’s disease. We are a history, finance, current events and the arts, you’ll proud partner of The Green House® Project, a national move- never be bored at Fox Hill Village. ment to transform long-term care. In the Loge at the In addition to our commitment to rich Museum of Fine Arts, To learn more, call cultural offerings, we have: Boston 781-320-1999 or visit WhiteOakCottages.com • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! Anton Bruckner Symphony No. 9 in D minor

JOSEPH ANTON BRUCKNER was born in Ansfelden, upper Austria, on September 4, 1824, and died in Vienna on October 11, 1896. He began concentrated work on his unfinished Symphony No. 9 in April 1891, though some of the material goes back to sketches made in 1887 and 1889. He completed the first movement on December 23, 1893, the scherzo on February 15, 1894, and the Adagio on November 30 of that year, beginning sketches for the finale on May 24, 1895. The symphony was performed first in the posthumous falsification by one of Bruckner’s self-proclaimed assistants, Ferdinand Löwe, an arrangement designed to make the work more “Wagnerian”; this took place in Vienna on February 11, 1903, with Löwe conducting. The premiere of the original version as Bruckner actually left it did not take place until April 2, 1932, at a special concert for an invited audience in Munich, with Siegmund von Hausegger conducting first the Löwe version, then Bruckner’s original. The first public performance of Bruckner’s original version was given on October 23, 1932, with Clemens Krauss conducting the Vienna Philharmonic.

THE SCORE OF BRUCKNER’S SYMPHONY NO. 9 calls for three flutes, three oboes, three clarinets, three bassoons, eight horns (four doubling Wagner tubas—two tenor and two bass— in the Adagio), three trumpets, three trombones, bass tuba, timpani, and strings.

Anton Bruckner spent almost eight years working on his never-to-be-finished Ninth Sym phony. Three completed movements and hundreds of pages of sketches for the finale attest to the passion with which he approached this work. But by the time he had reached the finale, his artistic self-confidence had been drastically undermined by the refusal of Hermann Levi, one his strongest proponents, to conduct his Eighth Symphony, and he spent most of his last years fruitlessly trying to revise older works to make them “ac ceptable” to performers unable to comprehend his unique style. This work of revision drained away essential time as it sapped his belief in his own abilities, depriving us of what might well have been his greatest work. But even as it stands, a torso of three movements lacking its finale—which would, as with Beethoven’s final symphony in the same key, have attempted to reconcile or harmonize its diverse expressive elements, its emotional extremes—the Ninth remains one of Bruckner’s greatest achievements.

week 15 program notes 43 Program page for the first Boston Symphony Orchestra performances of Bruckner’s Symphony No. 9 on March 31 and April 2, 1904, with Wilhelm Gericke conducting (BSO Archives)

44 A product of the Austrian countryside who remained essentially a bumpkin, at least as far as the cosmopolites of the capital were concerned, Bruckner moved to Vienna in 1868, to take up the professorship of harmony and counterpoint at the Conservatory. At that time he was forty-four years old and had attained some renown as a composer of Masses (all three of his works in that genre were already behind him), as a superb schol- ar of musical technique, and as one of the greatest organists of his day. (Reports of his magnificent improvisations on the organ make us wish that recording technology had been invented earlier.) His professorship was a position of great prestige in the elegant and fashionable capital of the Austro-Hungarian Empire, but it had been bestowed on a man of peasantlike simplicity in his personal life, a man who had little real understanding of the “proper” way to get ahead in the capital. He must have been a strange apparition in the simple costume he always wore, characteristic of his native Upper Austria: baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat of notably unstylish cut, and comfortable white shirt with an unfashionably broad collar. With his short and stocky build and his hearty appetite, he could easily have been taken for a peasant farmer.

Bruckner’s real difficulties in Vienna came because he was utterly unable to understand the political aspect of the city’s musical life, its division into armed camps representing the Brahmsians and the Wagnerians. No quarter was given, so a partisan of one side was automatically attacked by the partisans of the other. Vienna was basically conservative,

boston symphony chamber players at jordan hall sunday, march 3, 3pm Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players BARBER Summer Music for wind and renowned guest artists to explore the full spectrum quintet, Op. 31 of chamber music repertoire. In March, the Chamber Elena LANGER Five Reflections Players present a highlight of their 2018-19 season, the on Water (world premiere; BSO world premiere of Five Reflections on Water, a new commission) work commissioned by the BSO from the Russian-born ROSSINI Duo in D for cello and British composer Elena Langer. The ensemble’s four- double bass concert series takes place on four Sunday afternoons at Michael GANDOLFI Plain Song, New England Conservatory’s Jordan Hall. Fantastic Dances, for strings and winds

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week 15 program notes 45 Listen. The future of music, made here.

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46 Wagner welcoming Bruckner at Bayreuth, in a silhouette by Otto Böhler

and its Philharmonic Orchestra spearheaded that conservatism. The press, too, supported Brahms against Wagner and his adherents. So it was difficult enough for a composer allied in any way with “the music of the future” even to get a hearing; and once he had gotten it, it was difficult to find a review that provided even the minimum standards of fair reporting (such as wildly enthusiastic audience response, which sometimes occurred without being mentioned by Eduard Hanslick and other critics in their intensely pejorative reviews). Bruckner was known to be a strong admirer of Wagner—and that was quite enough to damn him in the eyes of the Brahmsians. Given their scope, size, and instrumentation, his large symphonies were inevitably thought of as “Wagnerian”; so, from the time of the Third Symphony, which Bruckner dedicated to Wagner, Hanslick’s powerful reviews inevitably attacked Bruckner’s newest works.

For many years Bruckner’s symphonies had to find their way against the will of the entrenched critics who were confident that they knew what a symphony was. But Bruck- ner’s symphonies are an utterly personal treatment of the form inherited from Haydn, Mozart, Beethoven, and Schubert, and must be approached in their own terms. Also for many years, Bruckner’s name was linked in the same breath with Mahler’s, and both were promoted as rarely heard and underrated masters of Viennese late Romanti cism. But Mahler has for decades now been a central figure in our symphonic life, while Bruckner still stands on the periphery.

In any case, the two composers had little in common. To be sure, both wrote lengthy and demanding symphonies, sometimes lasting an hour or more. (If Bruckner had finished his Ninth with a finale on the scale of the other movements, it would have been by far his longest work.) But their music looked in opposite directions. Mahler’s symphonies involved—as he himself said—the creation of entire worlds, filled with existential doubt and anguish. Bruckner, on the other hand, was a devout Catholic whose symphonies ring

week 15 program notes 47 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston with the absolute conviction of his faith; each seems from the beginning to be aiming for a predestined conclusion of grandeur and almost heavenly glory, the embodiment in tone of the massive, ornate Baroque churches in which he had served as organist. If Mahler’s symphonies are some kind of self-psychoanalysis, Bruckner’s symphonies are liturgical acts. Perhaps this is why today, in an age of endless questioning of values following a century of mass annihilation on a scale hardly known to history heretofore, Mahler’s symphonies seem more attuned to our world view than Bruckner’s.

After arriving in Vienna, Bruckner devoted almost his entire creative energy to the composition of symphonies. The years 1871 to 1876 saw the pouring out of symphonies 2, 3, 4, and 5 in quick succession. Hanslick, who had been enthusiastic about Bruckner’s early Masses, turned harshly vindictive after the composition of his “Wagner symphony,” and it became nearly impossible to obtain a Philharmonic performance of his works until his reputation began to grow elsewhere, particularly in Germany. The real start of his international fame came with the great success of the Seventh Symphony at its world premiere in Leipzig under the direction of Arthur Nikisch (later a conductor of the Boston Symphony Orchestra) at the end of 1884. A hugely successful performance in Munich the following year was the high point of his life. He was then in the middle of work on his Eighth Symphony, and, given the recent events, was proceeding in a mood of contented assurance.

That mood evaporated, though, when, after completing the Eighth in August 1887, he sent it to Hermann Levi, who had led the Munich performance of the Seventh. Levi had truly loved the Seventh but found himself, to his great embarrassment, unable to comprehend the Eighth, and though he tried to soften the blow of his rejection as best he could, it was devastating to Bruckner. As Bruckner’s pupil Joseph Schalk reported to Levi, “He is upset and in despair and has lost all confidence in himself.”

The loss of confidence affected not only the Eighth Symphony. Levi’s rejection revived Bruck ner’s earlier doubts about his ability and cast a pall over many of his earlier works. In fact, he spent most of the rest of his life revising older, already finished works in stead

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week 15 program notes 49 Francisco Noya, Music Director An Evening of Brahms MARCH 9, 2019 AT 8PM | MARCH 10, 2019 AT 3PM Brahms, Piano Concerto No. 1 Michael Lewin, piano soloist Brahms, Symphony No. 4

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50 Bruckner at his piano, c.1894

of writing new ones. Though he lived another nine years, he wrote only a few small pieces and never completed another symphony. By the time he had completed yet another re vision of the Eighth (with the sometimes misguided help of Schalk) he had already begun sketching the Ninth. But though the first three movements progressed well enough, he spent the last three years of his life trying to create a finale he was never to finish.

The Ninth was planned as a four-movement symphony in which—as in Beethoven’s Ninth—the scherzo came second and the slow movement third. Both of the first two movements—again, as in the Beethoven work—constantly emphasize and reaf- firm the home tonality of D minor, though during the course of the movements they cover vast harmonic distances, reflecting the development of musical chromaticism during the course of the seventy years that had elapsed between Beethoven’s work and Bruckner’s. Bruckner had completely internalized the music of Wagner’s Tristan and had shown even in his earliest compositions that he was comfortable with a very chromatic language. By the time of the Ninth, his harmonies occasionally border on the edge of atonality and approach the brink of the harmonic crisis that only a few years later forced Schoenberg to address new ways of finding coherence in a language in which every pitch seemed to have become as important as every other. Of course, Bruckner still remains firmly tonal in large matters. However far his musical voyage may take him, he ends the movement in the home key. And it is a foregone conclusion that the unfinished finale would have, in some way, brought together the threads of the three earlier movements and—again as in the Beethoven model—found some way to achieve a confident and ringing affirmation in D major.

The word “scherzo” means “joke” in Italian, but Bruckner’s scherzo is, rather, a gigantic nightmare, frenzied almost throughout, and by turns brutal and fantastic. In some ways

week 15 program notes 51 9,977 GOT BACK IN THE GAME

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15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 its sardonic character feels closer to Mahler than anything else Bruckner ever wrote. A repeated-note figure, sometimes softly plucked in the strings, sometimes loudly asserted in the full orchestra with brass and percussion, is the main gesture, the continuing back- drop of the movement. It has a concentrated sonata form, and unlike many of Bruckner’s scherzos, there is almost no hint of tunefulness. The Trio is in F-sharp major, which would normally effect a brightening and perhaps a relief from the scherzo’s pounding D minor (it also is surely a hint of the D major that Bruckner would have intended to close the symphony as a whole). But other Trios to Bruckner scherzos are a kind of relaxation, often in a slower tempo, from the scherzo. Here the Trio is faster and, though quieter, icy and slithering, yet another aspect of the movement’s nightmarish quality. The scherzo returns with its old ferocity.

The Adagio takes Bruckner to the farthest extremes of chromatic harmony that he ever reached, and it is by all odds his most tortuous music. Though the key signature claims it is in E major, and the opening pitch is the dominant of the E major scale (a perfectly nor- mal starting point), what follows moves through far worlds without a firm footing. This twisting and desolate opening theme, beginning with large leaps up, then down, followed by a series of rising scale passages, grows and develops through stretches in which we are never entirely sure of being in any key for very long. The first firm sense of tonality comes with the presentation of a new melody in A-flat, very slow, rather consoling in mood. Much of the rest of the movement unfolds with elements of the first theme, sometimes turned upside down, sometimes fragmented, but always seeking something

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week 15 program notes 53 Understand ALL sides.

wgbhnews.org wgbhnews.org not apparently defined. Only when the second theme is finally restated are we clearly in the long-intended key of E major. This inaugurates a great crescendo to a culminating point, though it is not an affirmation. Its climactic moment is a shockingly violent dissonance (so shocking that Bruckner’s “helper” Löwe rewrote it after the composer’s death and published and performed it without ever revealing what he had done; only in 1932, seven years after Löwe’s own death, was Bruckner’s original form heard). The climactic dissonance is on a chord that leads us to C-sharp minor—the key that shares its scale with the home E major and is known as its relative minor. Here begins the wonderful coda of the movement, which quotes the second phrase of the movement, but then, instead of repeating the earlier torments, moves into a serene realm for the moving close, which seems to recall somewhat the opening of the Seventh Symphony, whose success had been the high point (in the composer’s mind) of Bruckner’s life.

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

THE FIRST AMERICAN PERFORMANCE of Bruckner’s Ninth Symphony in its original version took place on October 11, 1934, with Otto Klemperer conducting the New York Philharmonic-Symphony Orchestra.

THE FIRST BOSTON SYMPHONY ORCHESTRA PERFORMANCES of Bruckner’s Symphony No. 9 were given by Wilhelm Gericke on March 31 and April 2, 1904, subsequent BSO performances being given by Karl Muck (in Boston and New York), Bruno Walter, Erich Leinsdorf (at Symphony Hall in 1963 and again in 1967, as well as out-of-town performances in both those years), Daniel Barenboim, Seiji Ozawa, Bernard Haitink, Ozawa again, Marek Janowski, and Christoph Eschenbach (the most recent subscription performances, in January 2014). The BSO has never performed the work at Tanglewood.

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56 To Read and Hear More...

John Daverio’s Robert Schumann: Herald of a “New Poetic Age” provides thoroughly informed consideration of the composer’s life and music (Oxford paperback). The same author’s Crossing Paths: Perspectives on the Music of Schubert, Schumann, and Brahms, intriguingly examines aspects of Schumann’s life and music in relation to the other two composers (Oxford University Press). Eric Frederick Jensen’s Schumann is a good biography in the “Master Musicians” series (Oxford). Schumann: A Chorus of Voices, by John C. Tibbetts, offers varied perspectives on the composer and his work from a wide assortment of performers, scholars, biographers, critics, and commentators (Amadeus Press). John Worthen’s Robert Schumann: The Life and Death of a Musician is a detailed treatment of the composer’s life based on a wealth of contemporary documentation (Yale University Press). Peter Ostwald’s Schumann: The Inner Voices of a Musical Genius is a study of the composer’s medical and psychological history, likewise based on sur- viving documentation (Northeastern University Press). Hans Gál’s Schumann Orchestral Music in the series of BBC Music Guides is a useful small volume about the composer’s symphonies, overtures, and concertos (University of Washington paperback). Michael Steinberg’s note on the Piano Concerto is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the concerto is among his Essays in Musical Analysis (Oxford paperback). Joan Chissell’s “The Symphonic Concerto: Schumann, Brahms and Dvoˇrák,” part of the chapter “The Concerto After Beethoven” in A Guide to the Concerto, edited by Robert Layton, includes discussion of Schumann’s Piano Concerto (also Oxford paperback).

The Boston Symphony Orchestra recorded Schumann’s Piano Concerto in 1980, with soloist Claudio Arrau and conductor Colin Davis (Philips). Noteworthy accounts among the many other recordings include (listed alphabetically by soloist) Leif Ove Andsnes’s with Mariss Jansons and the Berlin Philharmonic (EMI), Martha Argerich’s with Alex- andre Rabinovich-Barakovsky and the Orchestra della Svizzera italiana (EMI), Leon Fleisher’s with George Szell and the Cleveland Orchestra (Sony), Nelson Freire’s with Rudolf Kempe and the Munich Philharmonic (Sony/CBS), Stephen Kovacevich’s with Colin Davis and the BBC Symphony (Philips), Murray Perahia’s with either Claudio Abbado and the Berlin Philharmonic (Sony) or Colin Davis and the Bavarian Radio Sym- phony Orchestra (Sony), Maria João Pires’s with Abbado and the Chamber Orchestra of Europe (Deutsche Grammophon), Maurizio Pollini’s with Abbado and the Berlin Philharmonic (Deutsche Grammophon), and fortepianist Andreas Staier’s with Philippe

week 15 read and hear more 57 CONCERT 4 2018-19 CHAMBER MUSIC SEASON Pierrot, Mystery, & Romance

Friday, March 1 at 8:00 in Salem Sunday, March 3 at 3:00 in Brookline Debussy Sonata for Violin and Piano, L 140 Brookline Sunday Afternoons at 3:00 Debussy In beautiful St. Paul’s Church Sonata for Cello and Piano, L 135 Mar 3 | Apr 14 Schumann Piano Quintet in E-flat, Opus 44 Salem ???? Friday Evenings at 8:00 Mystery Piece In historic Hamilton Hall (Guess the composer and win tickets) Mar 1 | Apr 12

Diane Walsh — piano, Tatiana Dimitriades, Lucia Lin — violins, Rebecca Gitter — viola, Jonathan Miller — cello You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

58 Herreweghe and the period-instrument Orchestre des Champs-Élysées (Harmonia Mundi). Among historic issues, pianist Dinu Lipatti’s 1948 recording with Herbert von Karajan and the Philharmonia Orchestra retains a special place despite dim, dated sound (EMI), and Wilhelm Furtwängler’s 1942 concert performance with the Berlin Philharmonic and pianist Walter Gieseking remains an important document of that conductor’s way with Schumann (Deutsche Grammophon).

The two good basic biographies of Anton Bruckner are Derek Watson’s Bruckner in the “Master Musicians” series (Schirmer hardcover or Oxford paperback) and Hans-Hubert Schönzeler’s well-illustrated Bruckner in the Library of Composers series (Calder; also Grossman paperback). The Cambridge Companion to Bruckner, edited by John Williamson, in the series “Cambridge Companions to Music,” offers a compendium of essays primarily on Bruckner as symphonist, but also on the historical and cultural context in which he lived and worked, and on his choral music (Cambridge University paperback). Dika Newlin’s Bruckner, Mahler, Schoenberg links those three composers with regard to the Viennese musical tradition (Norton). Philip Barford’s Bruckner Symphonies in the series of BBC Music Guides provides a useful brief introduction to the composer’s symphonic output, including consideration of the authenticity questions surrounding certain scores (University of Washington paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Bruckner by Philip Coad (Oxford paperback). Robert Simpson’s The Essence of Bruckner subjects the symphonies to close critical and musical analysis (Gollancz paperback). Michael Steinberg’s program notes on Bruckner’s Fourth through Ninth symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Crucial to sorting out the different versions of Bruckner symphonies is Deryck Cooke’s “The Bruckner Problem Simplified,” a monograph based on a series of articles originally published in The Musical Newsletter and later restored to print in Vindications, a posthumous collection of Cooke’s essays (Cambridge University Press).

Among the many recordings of the Bruckner Ninth are noteworthy ones (listed alphabetically by conductor) by Claudio Abbado with the Vienna Philharmonic (Deutsche Grammophon), Daniel Barenboim live with the Staatskapelle Berlin (Deutsche Gram- mophon), Christoph von Dohnányi with the Cleveland Orchestra (Decca), Wilhelm Furtwängler with the Berlin Philharmonic (an historic, live 1944 performance, on Music & Arts), Carlo Maria Giulini with the Chicago Symphony Orchestra (Warner Classics), Bernard Haitink with the London Symphony Orchestar (LSO Live), Herbert von Karajan with the Berlin Philharmonic (Deutsche Grammophon), Yannick Nézet-Séguin with the Orchestre Métropolitain de Montréal (Atma Classique), Simon Rattle with the Berlin Philharmonic (Warner Classics, including a completion of Bruckner’s unfinished finale), and Georg Tintner with the Royal Scottish National Orchestra (budget-priced Naxos).

Marc Mandel

week 15 read and hear more 59

Guest Artist

Yuja Wang

Critical superlatives and audience ovations have continuously followed Yuja Wang’s dazzling career. The Beijing-born pianist’s 2018-19 season features recitals, concert series, season residencies, and extensive tours with some of the world’s most venerated ensembles and conductors. In fall 2018, Ms. Wang toured with the Berlin Philharmonic Orchestra and Kirill Petrenko and toured South America in recital. She also played several concerts with the Munich Philharmonic and Valery Gergiev throughout Asia. This season also marks the release of her Deutsche Grammophon recital album “The Berlin Recital,” featuring solo works by Rachmaninoff, Scriabin, Ligeti, and Prokofiev, recorded live at the Philhar- monie Berlin. Ms. Wang is featured this season as an artist-in residence at three of the world’s premier venues: New York’s Carnegie Hall, with a season-long “Perspectives” series; the Wiener Konzerthaus, with a “Portrait” series; and the Luxembourg Philhar- monie. In spring 2019 Yuja Wang, the Los Angeles Philharmonic, and Gustavo Dudamel perform the world premiere of John Adams’s newest piano concerto, Must the Devil Have All the Good Tunes, at Disney Hall before taking the piece on tour in the United States. She also reunites with cellist Gautier Capuçon for a vast U.S. chamber-music tour. Yuja Wang received advanced training in Canada and at Philadelphia’s Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007 when she stepped in for Martha Argerich as soloist with the Boston Symphony Orchestra. She later signed an exclusive contract with Deutsche Grammophon and has since established her place

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BostonSymphony 2017-18 Dorrance ND2017.indd 1 7/21/17 4:02 PM among the world’s leading artists, with a succession of critically acclaimed performances and recordings. Yuja Wang’s BSO and subscription series debut performances were of Tchaikovsky’s Piano Concerto No. 1 led by Charles Dutoit in March 2007. Her only other subscription series performances were in March 2014, as soloist in Prokofiev’s Piano Concerto No. 2 under Sir Andrew Davis. She has also performed with the orchestra at Tanglewood on three occasions, playing Rachmaninoff’s Rhapsody on a Theme of Paganini in August 2011, Ravel’s Piano Concerto in G and Gershwin’s Rhapsody in Blue in a July 2016 concert, and, most recently, Beethoven’s Piano Concerto No. 3 in July 2018 with Andris Nelsons conducting.

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week 15 guest artist 63 Exceptional healthcare is a concerted effort.

Exceptional healthcare begins and ends with an exceptional healthcare team working together to provide each patient with a healthcare experience that exceeds expectations every day.

At Next Step’s 35 afﬁliated skilled nursing facilities and 3 assisted living facilities, we know that patient needs are more complex and diverse than ever before. For this reason, our leadership team assures that every member of our staff – from nurses and assistants to housekeeping and dietary – is focused on delivering compassionate, responsive and personalized quality healthcare. Quality. Compassion. Trust. More than words, our commitment to you. www.NextStepHC.com a simple and powerful gift to the bso

A bequest is a gift that anyone can make to support the BSO.

“By giving to the Symphony, I feel as if I am a part of it. And that’s rewarding. I know that I’ve done my little ounce to make sure that this continues.”

—Eileen Walker, Walter Piston Society member Bequest donor

One of the simplest ways to support the BSO, a bequest is a donation of cash or other property made through your estate plans. It is a flexible gift that anyone can make regardless of income level, and it helps ensure the future of the BSO.

For more information, including a confidential customized example, please contact: Jill Ng, Director of Planned Giving and Senior Major Gifts Officer 617-638-9274 [email protected]. or visit us at bso.org/plannedgiving The Great Benefactors

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

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

66 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg ‡ • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12) ‡ Deceased

week 15 the great benefactors 67 Innovation, now seating seven.

With this much advanced technology inside, it was only fair to make room for everyone. Introducing the Audi Q7 with a truly impressive array of innovations. The available Audi virtual cockpit with Google Earth™ navigation1 helps give drivers control over the road from their own personalized command center. Oﬀering technology, such as available Audi turn assist,2 helps give drivers control by monitoring oncoming traﬃc. Exceptional design and intelligence have come together to form the next-generation Sport Technology Vehicle.

The Audi Q7. A higher form of intelligence has arrived.

Proud sponsor of the Boston Symphony Orchestra

Visit your local New England Audi dealer or go to AudiOﬀers.com to learn more.

1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2017-18 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Bloomberg • Eaton Vance, Thomas E. Faust, Jr. • Fidelity Investments $250,000 - $499,999 Bank of America, Anne M. Finucane, Miceal Chamberlain • Fairmont Copley Plaza, George Terpilowski • Takeda Pharmaceuticals Company Limited, Andrew Plump $100,000 - $249,999 American Airlines, Jim Carter • Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Commonwealth Worldwide Executive Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • League of American Orchestras • David G. Mugar • National Endowment for the Arts $50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Eversource Energy, James J. Judge • Fromm Music Foundation • Goodwin Procter LLP, Regina M. Pisa • The Geoffrey C. Hughes Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Massachusetts Cultural Council • Joseph C. McNay, The New England Foundation • New England Audi Dealers • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Miriam Shaw Fund • Suffolk, John F. Fish $25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Accenture, Richard P. Clark, Christine Disco • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Berkshire Bank • Boston Foundation • Canyon Ranch in Lenox • Connell Limited Partnership, Margot C. Connell, Frank A. Doyle • Encore Boston Harbor, Bob DeSalvio • EY-Parthenon, William F. Achtmeyer • Farley White Interests, John F. Power, Roger W. Altreuter • Elizabeth Taylor Fessenden Foundation • Gerondelis Foundation • The Ann and Gordon Getty Foundation • Goldman Sachs, Matt Gibson •

week 15 corporate, foundation, and government contributors 69 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Gerald R. Jordan Foundation, Jerry and Darlene Jordan • JPMorgan Chase & Co., Daniel J. Curtin • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • Mastercard • Morgan, Lewis & Bockius LLP, Lisa Barton, Steven C. Browne, Catherine Curtin • Quanta Services, Ben Bosco • SoCo Creamery • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, Part of the M&T Bank Family, Christopher T. Casey • Yawkey Foundation $15,000 - $24,999 Altec • Analog Devices, Inc., Vincent Roche • Arthur J. Hurley Company, Inc., Matthew Hurley • Asplundh/Asplundh Construction/American Electrical Testing • Barclays, John Lange • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Red Sox, Sam Kennedy • Boston Seed Capital, Nicole Maria Stata • Consigli Construction Co., Inc. • Debevoise & Plimpton LLP, Gregory J. Lyons • Mr. and Mrs. James S. DiStasio • E.M. Duggan, Inc., Len Monfredo • Enbridge, Bill Yardley • Feeney Brothers Utility Services, Brendan Feeney, Greg Feeney • Steve and Betty Gannon • The Highland Street Foundation/Stonegate Group LLC • Hill Holliday, Karen Kaplan • Hunton & Williams LLP, Walfrido Martinez • J.P. Marvel Wealth Management, Joseph F. Patton, Jr. • Keegan Werlin LLP, Cheryl Kimball • Roger and Myrna Landay Charitable Foundation • Macy’s • MEDITECH, Howard Messing • Needham Bank, Joseph P. Campanelli • New Balance Foundation, Anne and Jim Davis • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • Ray and Maria Stata • Margery and Lewis Steinberg • Stonehill College, Rev. John Denning, C.S.C. • The Summer Fund • Vertex Pharmaceuticals • Willis Towers Watson, Michael A. McShane • Anonymous $10,000 - $14,999 Abrams Capital, David Abrams • Advent International, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht, Sr. • Berkshire Partners LLC • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Cambridge Trust, Mark Thompson • Charles River Laboratories, Inc., James C. Foster • Eileen and Jack Connors, Jr. • Deutsch Family Wine & Spirits • Elliott Management Corporation, Paul E. Singer • EY, Jane C. Steinmetz • FTI Consulting, Stephen J. Burlone • Gallagher, Patrick Veale • H. Carr & Sons, Inc., James Carr • John Hancock Financial, Marianne Harrison • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Jim and Mary Judge • JWR Advisors, LLC, Jim Rappaport • Kaufman & Company, LLC, Sumner Kaufman • Ted and Debbie Kelly/The Kelly Family Foundation • The Kraft Family/New England Patriots Charitable Foundation • Liberty Mutual Group/Ironshore, Kevin H. Kelley • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Natixis Investment Managers, David Giunta • Navigator Management, Thomas M. O’Neill • New England Development, Stephen R. Karp • Northwood Investors, John Z. Kukral • Lee and Bernadette Olivier • Abraham Perlman Foundation • PwC, John Farina • Qualprint • The Red Lion Inn • Billy Rose Foundation • Silicon Valley Bank, Pamela Aldsworth • The Carl and Ruth Shapiro Family Foundation • Peter and Catherine Smyth • Strategic Benefit Advisors, Mark Abate • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The TJX Companies, Inc., Carol Meyrowitz • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Wheatleigh Hotel & Restaurant

week 15 corporate, foundation, and government contributors 71 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. $5,000 - $9,999 Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allegrone Companies • The Amphion Foundation, Inc. • Amuleto Mexican Table • Apple Tree Inn • Atlantic Trust Private Wealth Management • Barrington Associates Realty Trust • Berkshire Eagle • Berkshire Life Insurance Company of America, a Guardian Company • Anne Bailey and Roger Berman • The Beveridge Family Foundation, Inc. • BJ’s Wholesale Club • Blake & Blake Genealogists • Boston Area Mercedes-Benz Dealers • The Boston Globe • Boston Private • Burack Investments • The Cambridge Homes • Chadwick Martin Bailey • Choate, Hall & Stewart LLP • Chubb • Clough Capital Partners, LP • Cohen Kinne Valicenti & Cook LLP • Colliers International • RoAnn Costin • Cranwell Resort, Spa & Golf Club • John and Diddy Cullinane • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Demoulas Foundation • Francie and Bob DeSalvio • Dresser-Hull Company • Mr. and Mrs. J. Christopher Eagan • Ergonomic Group, Inc. • The Fuller Foundation • Greater Boston Chamber of Commerce • The Hamilton Company Charitable Foundation • Susan and Raymond Held • The Herb Chambers Companies • High Output, Inc. • History of Toys Gallery • IBM • Jack Madden Ford • Kripalu Center for Yoga & Health • Lee Kennedy Co., Inc. • Leggat McCall Properties • Locke Lord LLP • John and Rose Mahoney • Massachusetts High Technology Council, Inc. • Michael Renzi Painting Co. • Lucia B. Morrill Charitable Foundation • Myriad Productions • The E. Nakamichi Foundation • Neighborhood Health Plan • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Port Asylum • Prince Street Capital Management • Riemer & Braunstein LLP • Roffi Salon & Spa • Ropes & Gray LLP • Thomas A. and Georgina T. Russo Family Fund • S&F Concrete Contractors, Inc. • William E. and Bertha E. Schrafft Charitable Trust • Senator Investment Group • Shawmut Design and Construction • Siena Construction • Signature Printing & Consulting, Woburn, MA • Katherine Chapman Stemberg • Abbot and Dorothy H. Stevens Foundation • The Studley Press, Inc. • Edward A. Taft Trust • Transwestern • United Group of Companies • Walsh Brothers • WB Wood • WBUR • Stetson Whitcher Fund • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2) $2,500 - $4,999 Abbott’s Limousine & Livery Service, Inc. • Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Aqueduct Technologies, Inc. • Asia Alternatives • Audible, Inc. • B2C2 • Barrington Brewery and Restaurant • Bell Container Corp. • Biener Audi • Big Y Supermarkets • Blantyre • Blue Spark Capital Advisors • Bond Brothers, Inc. • Brookline Youth Concerts Fund • Carleton-Willard Village • Casablanca • Complete Staffing Solutions, Inc. • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • The Drew Company, Inc. • Edward Acker, Photographer • Elizabeth Grant Trust • F3 Technology Partners, LLC • Fire Equipment, Inc. • Margaret Foley • Fowler Printing & Graphics • Mr. and Mrs. Ronald Frohne • G&C Concrete Construction, Inc. • Garden Gables Inn • Gate City Electric • Gennari Plumbing & Heating, Inc. • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund • Mr. and Mrs. Robert Haber • Iredale Mineral Cosmetics, Ltd. • J.H. Maxymillian, Inc. • JK Glass Co., Inc. • Kemble Inn • Linda Leffert J.D. ret. • Lewis R. Dan, M.D. • MountainOne Financial • Murtha Cullina LLP • Norbella • Oxford Fund, Inc. • Peter D. Whitehead Builder, LLC • Quality Moving & Storage • Republic Services • Rockland Trust • Mr. and Mrs. Stephen Sacks • Sametz Blackstone Associates • Security Self Storage • David J. Tierney, Jr., Inc. • Vedder Price • Verrill Dana • Welch & Forbes, LLC • Frederica M. Williams • Anonymous (2)

week 15 corporate, foundation, and government contributors 73 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

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

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the first year of our partnership.

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

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

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

week 15 bso major corporate sponsors 75 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

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“A NIGHT AT THE OPERA DOESN’T GET ANY BETTER THAN THIS.” OPERA NEWS

2018–2019 season andris nelsons music director

Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200. At Brookhaven, lifecare living is as good as it looks. Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community.

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tanglewood festival chorus

The Tanglewood Festival Chorus performs with the Boston Symphony Orchestra and the Boston Pops Orchestra in Symphony Hall and at Tanglewood. This season in Symphony Hall, the TFC joins Keith Lockhart and the Boston Pops for another exciting December of Holiday Pops performances. Under the baton of Andris Nelsons, the TFC joins the BSO for Mahler’s Symphony No. 2 and Einfelde’s Lux aeterna (conducted by BSO Choral Director James Burton), Bach’s Christmas Oratorio, Puccini’s Suor Angelica, and Dvořák’s Stabat Mater. In April, the TFC will perform Estévez’s Cantata Criolla with the orchestra under the direction of Gustavo Dudamel. Auditions for the TFC take place year-round. For more information on upcoming auditions, please visit bso.org/tfc.

Season Sponsors

bso.org/tfc sponsor supporting sponsorlead

78 Administration

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

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

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

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

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

week 15 administration 79 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you know how special it is to experience a performance here at Symphony Hall. You can make your BSO experience even more enriching— discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is truly the financial foundation that enables the Orchestra to thrive. By joining the Friends with an annual membership gift, you help build a legacy of spectacular performances, ensuring incredible music is accessible to all who wish to hear. enjoy friends-only privileges, including: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive behind-the-scenes experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Interim Director of Individual Giving • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Individual Giving Coordinator • Emily Fritz-Endres, Assistant Director of Board Administration • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Francis Rogers, Major Gifts Officer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement

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

week 15 administration 81 Join the conversation on social. #BSO1819

@BostonSymphony

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82 human resources

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

Matthew Erikson, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs and Group Sales • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

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

week 15 administration 83

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

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

84 Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

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

week 15 administration 85 Next Programs…

Thursday, February 21, 8pm Saturday, February 23, 8pm

andris nelsons conducting

boulanger “d’un soir triste” (“a sad evening”)

debussy “nocturnes” Nuages. Modéré Fêtes. Animé et très rythmé Sirènes. Modérément animé lorelei ensemble, beth willer, artistic director

{intermission}

puccini “suor angelica,” opera in one act with a libretto by giovacchino forzano (sung in italian with english supertitles) kristine opolais, soprano (sister angelica) violeta urmana, mezzo-soprano (the princess) fatma said, soprano (sister genovieffa) dana beth miller, mezzo-soprano (the abbess) maryann mccormick, mezzo-soprano (the monitor) lorelei ensemble, beth willer, artistic director tanglewood festival chorus and boston symphony children’s choir, james burton, conductor

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

86 Friday, February 22, 8pm (“Casual Friday” concert, with introductory comments by a BSO member and no intermission) andris nelsons conducting britten “friday afternoons,” opus 7 1. Begone, dull care! 7. There was a man of Newington 2. A tragic story 8. Fishing song 3. Cuckoo! 9. The useful plough 4. “Ee-oh!” 10. Jazz-Man 5. A New Year Carol 11. There was a monkey 6. I mun be married on Sunday 12. Old Abram Brown boston symphony children’s choir, james burton, conductor boulanger “d’un soir triste” (“a sad evening”) debussy “nocturnes” Nuages. Modéré Fêtes. Animé et très rythmé Sirènes. Modérément animé lorelei ensemble, beth willer, artistic director

Next Thursday and Saturday nights, Andris Nelsons and the BSO continue their recent tradition of performing opera in concert with Giacomo Puccini’s Suor Angelica (“Sister Angelica”), one of the three short operas composed in the 1910s and known collectively as Il trittico (“Triptych”). The story centers on the title character, who is living in a convent to repent a past sin, having a child out of wedlock. Acclaimed soprano Kristine Opolais sings the role of Sister Angelica in this concert performance. Opening the program is a work almost contemporary with Puccini’s, Lili Boulanger’s short tone poem D’un Soir triste (“A sad evening”), one of few purely orchestral works completed by this young genius before her untimely death in 1918 at age 24. Also on the program is Debussy’s immensely colorful Nocturnes, an 1899 masterpiece of musical Impressionism. The “Casual Friday” concert of February 22 opens with Benjamin Britten’s choral cycle Friday Afternoons, written in 1933-35 for the boys of his brother’s prep school, whose music class met on Friday afternoons, and here showcases the recently formed Boston Symphony Children’s Choir. Very English, in some ways folksong-like, this children’s piece has unexpected expressive and musical depths. The “Casual Friday” program then continues with the Boulanger and Debussy works being played also on Thursday and Saturday nights.

week 15 next programs 87 Your Winter Time Companion

A SERVICE OF WGBH • CLASSICALWCRB.ORG

Download the App Coming Concerts… friday previews and pre-rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘B’ February 21, 8-10:10 Thursday ‘A’ February 28, 8-9:40 Saturday ‘B’ February 23, 8-10:10 Friday ‘A’ March 1, 1:30-3:10 ANDRIS NELSONS, conductor Saturday ‘B’ March 2, 8-9:40 KRISTINE OPOLAIS, soprano (Sister Angelica) ANDRIS NELSONS, conductor VIOLETA URMANA, mezzo-soprano (The Princess) KRISTINE OPOLAIS, soprano FATMA SAID, soprano (Sister Genovieffa) VIOLETA URMANA, mezzo-soprano DANA BETH MILLER, mezzo-soprano (The Abbess) DMYTRO POPOV, tenor MARYANN MCCORMICK, mezzo-soprano (The AIN ANGER, bass Monitress) TANGLEWOOD FESTIVAL CHORUS, LORELEI ENSEMBLE, BETH WILLER, artistic director JAMES BURTON, conductor TANGLEWOOD FESTIVAL CHORUS and DVORÁˇ K Stabat Mater BOSTON SYMPHONY CHILDREN’S CHOIR, JAMES BURTON, conductor BOULANGER D’un Soir triste Sunday, March 3, 3pm DEBUSSY Nocturnes Jordan Hall, New England Conservatory PUCCINI Suor Angelica (sung in Italian BOSTON SYMPHONY CHAMBER PLAYERS with English supertitles) BARBER Summer Music for wind quintet, Op. 31 Friday Evening February 22, 8-9:20 ELENA LANGER Five Reflections on Water (Casual Friday, with introductory comments (world premiere; by a BSO member and no intermission) BSO commission) ROSSINI Duo in D for cello and ANDRIS NELSONS, conductor double bass BOSTON SYMPHONY CHILDREN’S CHOIR, MICHAEL Plain Song, Fantastic Dances, JAMES BURTON, conductor GANDOLFI for strings and winds LORELEI ENSEMBLE, BETH WILLER, artistic director BRITTEN Friday Afternoons, for children’s chorus and orchestra Thursday ‘A’ March 7, 8-10 BOULANGER D’un Soir triste Friday ‘B’ March 8, 1:30-3:30 DEBUSSY Nocturnes Saturday ‘B’ March 9, 8-10 THOMAS ADÈS, conductor KIRILL GERSTEIN, piano LISZT Mephisto Waltz No. 1 THOMAS ADÈS Concerto for Piano and Orchestra (world premiere; BSO commission) TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (45) The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

week 15 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

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

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

week 15 symphony hall information 91 Subscriber 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) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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