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boston symphony orchestra summer 2014 AndRis Nelsons, Ray and MaRia Stata Music DiRectoR Designate BeRnaRd Haitink, LaCRoix Family Fund ConductoR EmeRitus, Endowed in PeRpetuity Seiji Ozawa, Music DiRectoR LauReate 133rd season, 2013–2014 Trustees of the Boston Symphony Orchestra, Inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • CaRmine A. MaRtignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • GeoRge D. Behrakis • Jan BRett • Paul Buttenwieser • Ronald G. Casty • Susan BRedhoff Cohen, ex-officio • RichaRd F. Connolly, JR. • Diddy Cullinane • Cynthia Curme • Alan J. DwoRsky • William R. Elfers • Thomas E. Faust, JR. • Michael GoRdon • BRent L. Henry • ChaRles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • RobeRt P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • CaRol Reich • Arthur I. Segel • RogeR T. SeRvison • Wendy Shattuck • CaRoline TayloR • Roberta S. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • HaRlan E. Anderson • David B. Arnold, JR. • J.P. BaRger • GabRiella Beranek • Leo L. Beranek • DeboRah Davis Berman • Peter A. BRooke • John F. Cogan, JR. • Mrs. Edith L. Dabney • Nelson J. DaRling, JR. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • Nancy J. Fitzpatrick • Thelma E. Goldberg • ChaRles H. Jenkins, JR. • Mrs. Béla T. Kalman • GeoRge Krupp • Mrs. Henrietta N. Meyer • RichaRd P. MoRse • David MugaR • MaRy S. Newman • Vincent M. O’Reilly • William J. PooRvu • Peter C. Read • EdwaRd I. Rudman • RichaRd A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, JR. • John L. ThoRndike • Stephen R. Weiner • Dr. Nicholas T. Zervas Other Officers of the Corporation MaRk Volpe, Managing Director • Thomas D. May, Chief Financial Officer • BaRt Reidy, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Susan BRedhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair NoubaR Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd AxelRod, M.D. • Judith W. BaRR • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • MaRk G. BoRden • PaRtha Bose • KaRen BRessler • Anne F. BRooke • Stephen H. BRown • GregoRy E. Bulger • Joanne M. Burke • RichaRd E. Cavanagh • Dr. LawRence H. Cohn • ChaRles L. Cooney • Ronald A. CRutcher • William CurRy, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • URsula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • SanfoRd Fisher • Jennifer MugaR Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. GaRRaway • CoRa H. Ginsberg • Robert R. Glauber • StuaRt HiRshfield • Susan Hockfield • LawRence S. HoRn • Jill HoRnoR • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • DaRlene Luccio JoRdan, Esq. • Paul L. Joskow • Stephen R. KaRp • John L. Klinck, JR. • Peter E. Lacaillade • ChaRles LaRkin • Joshua A. Lutzker • Jay MaRks • Jeffrey E. MaRshall • Robert D. Matthews, JR. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. MoRRissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy PhilbRick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan PooRvu • Dr. John Thomas Potts, JR. • William F. Pounds • ClaiRe PryoR • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. CaRmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. SaRaceno • Diana Scott • Donald L. ShapiRo • Phillip A. ShaRp, Ph.D. • Christopher SmallhoRn • Michael B. SpoRn, M.D. • Nicole Stata • MaRgery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • MaRk D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. BRooks Zug Overseers Emeriti Helaine B. Allen • MaRjoRie Arons-BaRRon • CaRoline Dwight Bain • Sandra BakalaR • GeoRge W. BerRy • William T. Burgin • Mrs. Levin H. Campbell • EaRle M. Chiles • CaRol FeinbeRg Cohen • MRs. James C. Collias • Ranny CoopeR • Joan P. CuRhan • Phyllis CuRtin • TamaRa P. Davis • Mrs. Miguel de BRagança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • HaRRiett Eckstein • GeoRge Elvin • John P. Eustis II • Pamela D. EverhaRt • Judy Moss Feingold • RichaRd Fennell • MyRna H. FReedman • Mrs. James GaRivaltis • Dr. Arthur Gelb • Robert P. Gittens • JoRdan Golding • MaRk R. Goldweitz • Michael Halperson • John Hamill • DeboRah M. Hauser • CaRol Henderson • Mrs. RichaRd D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • MRs. GoRdon F. Kingsley • Robert I. KleinbeRg • David I. Kosowsky • Robert K. Kraft • FaRla H. Krentzman • Benjamin H. Lacy • Mrs. William D. LaRkin • Robert J. Lepofsky • Edwin N. London • FRederick H. Lovejoy, JR. • Diane H. Lupean • Mrs. HaRRy L. MaRks • Joseph B. MaRtin, M.D. • Joseph C. McNay • Albert Merck • Dr. MaRtin C. Mihm, JR. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne BRooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel ThoRne • Diana Osgood Tottenham • Paul M. VerRochi • James Westra • Mrs. Joan D. Wheeler • MaRgaRet Williams-DeCelles • RichaRd Wurtman, M.D. † Deceased Tanglewood The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its fiRst concerts in the BeRkshiRe Hills of westeRn Massachusetts; music diRectoR SeRge Koussevitzky conducted. But those outdooR concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the oRchestRa peRfoRmed neaRby undeR a laRge tent at Holmwood, a foRmer Vanderbilt estate that later became The Center at Foxhollow. In fact, the fiRst BerkshiRe Symphonic Festival had taken place two summers eaRlier, at Interlaken, when, oRganized by a group of music-loving BerkshiRe summer Residents, three outdooR concerts were given by members of the New YoRk PhilhaRmonic, under the diRection of composer/conductoR Henry Hadley. But after a second concert series in 1935, plans foR 1936 pRoved difficult, foR Reasons including Hadley’s health and aspects of the musical programming; so the oRganizing committee instead approached Koussevitzky and the BSO’s TRustees, whose enthusiastic Response led to the BSO’s fiRst concerts in the BerkshiRes. In the winter of 1936, following the BSO’s concerts that summer, Mrs. GoRham BRooks and Miss MaRy Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acRes of lawns and meadows, as a gift to Koussevitzky and the oRchestRa. The offeR was gRatefully accepted, a two-weekend festival was planned foR 1937, and on August 5 that yeaR, the festival’s laRgest crowd to date assembled under a tent foR the fiRst Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, Rain and thundeR twice inteRRupted the Rienzi OveRtuRe and necessitated the omission altogetheR of the Siegfried Idyll, music too gentle to be heaRd through the downpour. At the inter- mission, Miss GeRtRude Robinson Smith, one of the festival’s foundeRs, made an appeal to Raise funds foR the building of a permanent structure. The appeal was bRoadened by means of a printed ciRculaR handed out at the two Remaining concerts, and within a shoRt time enough money was Raised to begin active planning foR a “music pavilion.” Eliel SaaRinen, the eminent aRchitect selected by Koussevitzky, proposed an elaboRate design that went faR beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive, A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wRote that if the TRustees insisted on Remaining within theiR budget, they would have “just a shed...which any buildeR could accomplish without the aid of an aRchitect.” The TRustees then asked StockbRidge engineeR Joseph FRanz to simplify SaaRinen’s plans fuRtheR, and the “Shed” he eRected—which Remains, with modifica- tions, to this day—was inaugurated on August 4, 1938, with the fiRst concert of that yeaR’s festival. It has Resounded to the music of the Boston Symphony Orchestra every summer since, except foR the waR yeaRs 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the Result of a collaboRa- tion between the acoustical consultant Bolt Beranek and Newman and aRchi- tect EeRo SaaRinen and Associates, the installation of the then-unique Edmund Hawes Talbot ORchestRa Canopy, along with otheR impRove- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) woRld-famous acoustics. In 1988, on the occasion of its fiftieth anniveRsaRy, the Shed was Rededicated as “The SeRge Kous- sevitzky Music Shed,” Recognizing the faR-Reaching vision of the BSO’s legendaRy music diRectoR. In 1940, the BerkshiRe Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios weRe finished, and the festival had so expanded its activities
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  • Prog 48 10JUN17 Kupa Titel 0106.Indd

    Prog 48 10JUN17 Kupa Titel 0106.Indd

    10. JUN 2017 Avital & Avital Meet Orchestra KONZERTSAAL PROGRAMM Johann Nepomuk Hummel (1778–1837) Konzert für Mandoline und Orchester G-Dur Allegro moderato e grazioso Andante con variazioni Rondo. Allegro Josef Bardanashvili (*1948) Konzert für Mandoline, Saxophon, Klavier, Schlagzeug und Streicher (Europäische Erstaufführung) Con fuoco — sostenuto — con fuoco — sostenuto Adagio PAUSE Avital & Avital Meet Orchestra „Zamzama” (Arr. Christian Elsässer) „Lonely Girl” (Arr. Jonathan Keren) „Ana Maghrebi“ (Arr. Jonathan Keren) „Avi's Song“ (Avi Avital) „Hijazain“ (Arr. Christian Elsässer) „Ballada le Eli“ (Arr. Jonathan Keren) „Maroc“ (Arr. Christian Elsässer) Die Arrangements der Musik von Omer Avital für „Avital Meets Avital” und Sinfonieorchester sind ein Auftrag der Dresdner Philharmonie gemeinsam mit dem Adele and John Gray Endowment Fund. (Uraufführung) Daniel Cohen | Dirigent Avi Avital | Mandoline Asya Fateyeva | Saxophon Avital Meets Avital Avi Avital | Mandoline, Omer Avital | Bass und Oud Yonathan Avishai | Klavier, Itamar Doari | Orientalische Perkussion 1 DAS HERZ RÜHREN UND DAS OHR ENTZÜCKEN JOHANN NEPOMUK HUMMEL: KONZERT FÜR MANDOLINE 1778 in Preßburg geboren, der heutigen seiner Heirat 1813 konzentrierte er sich dann slowakischen Hauptstadt Bratislava, kam jedoch auf eine Karriere als Kapellmeister Johann Nepomuk Hummel als Achtjähriger und Pianist, die ihm und seiner Familie ein mit seiner Familie nach Wien, wo sein Vater komfortables Leben ermöglichte. 1816–1818 Kapellmeister am von Emanuel Schikaneder war er Hofkapellmeister in Stuttgart, 1819 geleiteten „eater an der Wieden" wurde. wurde er von Erzherzog Carl August als Früh fiel Hummels Talent als Pianist auf, Hofkapellmeister nach Weimar berufen, Mozart nahm ihn zwei Jahre lang in seinen wo er vielseitig vernetzt und erfolgreich war. Haushalt auf und erteilte ihm kostenlosen Hummel erwarb sich große Verdienste, indem Unterricht.
  • Daniel Cohen, Who Directs the Turn of the Screw, Is a Great Example of This.”

    Daniel Cohen, Who Directs the Turn of the Screw, Is a Great Example of This.”

    “Clarity and accuracy. There are difficult productions in which you may not always hear the orchestra, so the cue becomes crucial. I also appreciate conductors who really breathe with me in long phrases. Daniel Cohen, who directs The Turn of the Screw, is a great example of this.” Maria Bengtsson in an interview with VAN Magazin, April 2018 DANIEL COHEN CONDUCTOR Daniel Cohen is General Music Director of the Darmstadt Stadttheater. Following his successful debut at the Staatsoper Berlin, conducting Stravinsky’s Rite of Spring in the 2016- 17 season, Cohen was invited back to the Staatsoper to conduct performances of Die Zauberflöte and Il barbiere di Siviglia, as well as the revival of Klaus Guth’s production of Britten’s Turn of the Screw while at the Deutsche Oper he recently conducted Don Giovanni. During the 2015- 17 seasons, Cohen was a Kapellmeister at the Deutsche Oper Berlin, where he conducted numerous performances, including such operas as Così fan tutte, Don Giovanni, Die Zauberflöte, Il barbiere di Siviglia, Dornröschen, Lucia di Lammermoor, La Traviata and G. F. Haas' new opera Morgen und Abend. Other operatic highlights include an acclaimed debut with the Canadian Opera Company with Christopher Alden’s production of La clemenza di Tito, the Italian premiere of D'Avalos' Maria di Venosa at the Festival della Valle d’Itria, Massenet’s Don Quichotte at the Teatro Lirico di Cagliari and Britten's A Midsummer Night's Dream at the Teatro Massimo di Palermo, Die Zauberflöte in Macerata. Cohen frequently works with the Israeli Opera where he conducted La Cenerentola, Die Entführung aus dem Serail, Le Nozze di Figaro, Rigoletto, Otello, Lady Macbeth of Mtsensk, Pique Dame and Wozzeck.