Tanglewood, Kripalu Center for Yoga & Health Is the Largest Yoga-Based Retreat Center in North America

summer 2016

boston symphony orchestra andris nelsons music director

Explore the power of you.

Located just down the road from Tanglewood, Kripalu Center for Yoga & Health is the largest yoga-based retreat center in North America. From our breathtaking views to our renowned cuisine, we invite you to join us to enjoy everything Kripalu has to offer.

Stockbridge, MA | 888.893.1957 | kripalu.org

MISSION DRIVEN, DONOR SUPPORTED Kripalu® is a registered trademark of Kripalu Center for Yoga & Health. All rights reserved. (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional del Prado, Madrid (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional Saint Sebastian

SPLENDOR, Guido Reni, MYTH, AND VISION

THROUGH OCTOBER 10

CLARKART.EDU WILLIAMSTOWN, MASSACHUSETTS

Splendor, Myth, and Vision is co-organized by the Clark Art Institute and the Museo Nacional del Prado, Madrid. Major underwriting is provided by Denise Littleﬁeld Sobel and Diane and Andreas Halvorsen. Generous contributors include the National Endowment for the Arts and the Malcolm Hewitt Wiener Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

135th season, 2015–2016

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn † • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu •

Programs copyright ©2016 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner

Overseers Emeriti

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

† Deceased 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 Phil harmonic, 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 Tangle wood, 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 Tangle wood 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 intermission, 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 collaboration between the acoustical consultant Bolt Beranek and Newman and architect 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- se vit zky 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 and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre-Concert Hall (which, with some mod- ifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrated its 75th anniversary in 2015, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Sym phony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Cen ter also includes an historical exhibit on Tan gle wood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 15 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center The Heinz H. Weissenstein/Whitestone Photo Collection 40-plus Years at Tanglewood

With just ﬁve dollars in his pocket and his Leica camera, amateur photographer and onetime Leipzig banker Heinz Weissenstein arrived in New York after ﬂeeing Nazi Germany in the autumn of 1938. For seven summers years starting in 1939, Weissenstein taught photography at Camp Mah-kee-nac across the road from Tanglewood—during which time his love of music drew him to concerts at Tanglewood, where Leonard Bernstein, Heinz Weissenstein, he took pictures of the student Gunther Schuller, and Seiji Ozawa, 1970 operas directed by Boris Goldovsky, (Photo by Mary Smith, using Weissenstein’s Rollei camera) and where he eventually became the BSO’s regular Tanglewood photographer. Weissenstein—“Whitestone” in English—operated Whitestone Photo in Lenox during the summer, and on 72nd Street in New York City during the rest of the year. Serge Koussevitzky cutting his 75th-birthday cake, July 26, 1949 In the fall of 2015 the BSO Archives acquired the Whitestone collection, encompassing close to 100,000 of Weissenstein’s negatives, contact sheets, and prints, including countless photographs chronicling Tanglewood’s rich history from the early 1940s through the mid-1980s. This summer’s special BSO Archives exhibit celebrates the acquisition of this remarkable collection and the achievement of this remarkable man.

All photos by Heinz Weissenstein except Erich Leinsdorf chatting with James Taylor in his first where noted. Janis Joplin, July 8, 1969 Tanglewood appearance, July 30, 1974

Pierre Monteux leading the BSO in the Shed, 1958 A Tanglewood usher handing out cloth wrap-around skirts to women wearing shorts, c.1951 In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, hoverboards, drones, and other similar unmanned aircraft are prohibited from the Tanglewood grounds. Patrons are permitted to use small, open-sided canopies in designated areas of the lawn provided that they do not penetrate grounds infrastructure and do not unreasonably obstruct the view of other lawn patrons. Ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert; during Shed concerts, children may play ball only in designated areas around the Visitor Center and in the Apple Tree lot near Ozawa Hall, but only if such activity does not disturb performances, rehearsals, or patrons sitting on the lawn. Shirts and shoes must be worn inside concert halls. No areas of the lawn may be cordoned off for any reason. Please also note that patrons assume responsibility for properly securing their lawn equipment, and for any damages to persons or property arising from the use of such equipment at Tanglewood. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all other texting and electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, we reserve the right to inspect all bags, purses, backpacks, and other items brought onto the Tanglewood grounds. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tangle wood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. The free BSO APP is available from Google Play on Android devices and from the App Store on Apple devices. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. The Shed Shack is open on Saturdays for Open Rehearsals from 9 a.m. to 2:30 p.m. Highwood Manor House is open Friday, Saturday, and Sunday, July 8 through August 27, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To- Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Kous se vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $33 (front and boxes) and $23 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehicle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2016

ANDRIS NELSONS BERNARD HAITINK SEIJI OZAWA THOMAS WILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

First Violins Xin Ding* Violas Mickey Katz* Donald C. and Ruth Brooks Stephen and DorothyWeber Malcolm Lowe Heath chair, endowed Steven Ansell chair, endowed in perpetuity Concertmaster in perpetuity Principal Charles Munch chair, Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity Glen Cherry* endowed in perpetuity Nancy and Richard Lubin Ronald G. and Ronni J. chair Tamara Smirnova Casty chair Cathy Basrak Associate Concertmaster Assistant Principal Adam Esbensen* Helen Horner McIntyre Yuncong Zhang* Anne Stoneman chair, Richard C. and Ellen E. chair, endowed in perpetuity endowed in perpetuity Paine chair, endowed in perpetuity Alexander Velinzon Second Violins Wesley Collins Associate Concertmaster Lois and Harlan Anderson Blaise Déjardin* Robert L. Beal, Enid L., Haldan Martinson chair, endowed in perpetuity Oliver Aldort* and Bruce A. Beal chair, Principal endowed in perpetuity Carl Schoenhof Family Robert Barnes chair, endowed in perpetuity Elita Kang Michael Zaretsky Basses Assistant Concertmaster Julianne Lee Assistant Principal Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Charlotte and Irving W. Rachel Fagerburg* Rabb chair, endowed in Harold D. Hodgkinson Bo Youp Hwang perpetuity Kazuko Matsusaka* chair, endowed in perpetuity John and DorothyWilson Sheila Fiekowsky Rebecca Gitter* Lawrence Wolfe chair, endowed in perpetuity Assistant Principal Shirley and J. Richard Daniel Getz* Lucia Lin Fennell chair, endowed Maria Nistazos Stata chair, Dorothy Q. and David B. in perpetuity endowed in perpetuity Arnold, Jr., chair, endowed Cellos Benjamin Levy in perpetuity Nicole Monahan David H. and Edith C. Leith Family chair, endowed Jules Eskin in perpetuity Ikuko Mizuno Howie chair, endowed Principal Ruth and Carl J. Shapiro in perpetuity Philip R. Allen chair, Dennis Roy chair, endowed in perpetuity endowed in perpetuity Ronan Lefkowitz Joseph Hearne Jennie Shames* Vyacheslav Uritsky* Martha Babcock Stephanie Morris Marryott Associate Principal James Orleans* and Franklin J. Marryott Nancy Bracken* Vernon and Marion Alden Todd Seeber* chair chair, endowed in perpetuity Aza Raykhtsaum* Eleanor L. and Levin H. Valeria Vilker Sato Knudsen Campbell chair, endowed Kuchment* Bonnie Bewick* Mischa Nieland chair, in perpetuity Catherine and Paul James Cooke* endowed in perpetuity John Stovall* Buttenwieser chair Victor Romanul* Mihail Jojatu Thomas Van Dyck* Tatiana Dimitriades* Bessie Pappas chair Sandra and David Bakalar Mary B. Saltonstall chair, chair endowed in perpetuity Catherine French* Owen Young* Si-Jing Huang* Jason Horowitz* John F. Cogan, Jr., and Kristin and Roger Servison Mary L. Cornille chair, Ala Jojatu* chair endowed in perpetuity Wendy Putnam* Robert Bradford Newman chair, endowed in perpetuity Flutes Bass Clarinet Thomas Siders Voice and Chorus Associate Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Founder and endowed Bassoons Michael Martin Conductor Laureate in perpetuity Richard Svoboda Ford H. Cooper chair, Alan J. and Suzanne W. endowed in perpetuity Principal Dworsky chair, endowed Clint Foreman in perpetuity Myra and Robert Kraft Edward A. Taft chair, chair, endowed in perpetuity endowed in perpetuity Trombones Librarians Elizabeth Ostling Suzanne Nelsen Toby Oft Associate Principal John D. and Vera M. Principal D. Wilson Ochoa Marian Gray Lewis chair, MacDonald chair J.P. and Mary B. Barger Principal endowed in perpetuity Richard Ranti chair, endowed in perpetuity Lia and William Poorvu Associate Principal Stephen Lange chair, endowed in perpetuity Piccolo Diana Osgood Tottenham/ John Perkel Hamilton Osgood chair, Cynthia Meyers endowed in perpetuity Bass Trombone Mark Fabulich Evelyn and C. Charles Marran chair, endowed James Markey in perpetuity Contrabassoon John Moors Cabot chair, Assistant endowed in perpetuity Conductors Gregg Henegar Oboes Helen Rand Thayer chair Moritz Gnann Tuba John Ferrillo Ken-David Masur Principal Horns Mike Roylance Anna E. Finnerty chair, Principal Mildred B. Remis chair, James Sommerville endowed in perpetuity endowed in perpetuity Margaret and William C. Principal Rousseau chair, endowed Mark McEwen Helen Sagoff Slosberg/ in perpetuity Personnel James and Tina Collias Edna S. Kalman chair, Managers chair endowed in perpetuity Timpani Lynn G. Larsen Keisuke Wakao Richard Sebring Assistant Principal Associate Principal Timothy Genis Bruce M. Creditor Farla and Harvey Chet Margaret Andersen Sylvia ShippenWells chair, Assistant Personnel Krentzman chair, endowed Congleton chair, endowed endowed in perpetuity Manager in perpetuity in perpetuity Rachel Childers Percussion Stage Manager English Horn John P. II and Nancy S. Eustis chair, endowed J. William Hudgins John Demick Robert Sheena in perpetuity Peter and Anne Brooke Beranek chair, endowed chair, endowed in perpetuity in perpetuity Michael Winter Elizabeth B. Storer chair, Daniel Bauch endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Clarinets participating in a system Jason Snider Linde chair * of rotated seating William R. Hudgins Jonathan Menkis Principal Kyle Brightwell Jean-Noël and Mona N. Ann S.M. Banks chair, Peter Andrew Lurie chair, Tariot chair endowed in perpetuity endowed in perpetuity Matthew McKay Michael Wayne Trumpets Thomas Martin Associate Principal & Thomas Rolfs Harp Principal E-flat clarinet Jessica Zhou Stanton W. and Elisabeth Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas K. Davis chair, endowed chair, endowed in perpetuity in perpetuity Benjamin Wright by Sophia and Bernard Gordon

Andris Nelsons

In 2015-16, his second season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in thirteen wide-ranging programs at Symphony Hall, repeating three of them at Carnegie Hall in New York. Last summer, following his first season as music director, his contract was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight- city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place this past May. The fifteenth music director in the history of the Boston Symphony Orches- tra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2 (photo by Marco Borggreve) —was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concert- gebouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returns to the Bayreuth Festival this summer for a new production of Wagner’s Parsifal. Under a new, exclusive contract with Deutsche Grammophon, he will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Andris Nelsons conducting the BSO at Tanglewood, Latvian National Opera Orchestra July 2014 (photo by Hilary Scott) before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 135th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, intro- duced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in TMC faculty members Aaron Copland and Leonard Bernstein 1969 by William Steinberg. seated with Serge Koussevitzky during a Berkshire Music Center Seiji Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

SARASOTA. WHERE ARTISTIC EXPRESSION AND INSPIRATION MEET.

Nowhere will you ﬁnd art and culture more colorful than in Sarasota and surrounding areas. Discover why we’re known as Florida’s Cultural Coast®.

Go Beyond the Beaches®. VisitSarasotaArts.org or call 888-886-5997

JULY 1 – AUGUST 14 BARDSUMMERSCAPE 2016

Seven inspired weeks of opera, music, theater, dance, ﬁlm, and cabaret

DANCE JULY 1–3 OPERA JULY 22–31 27TH BARD MUSIC FESTIVAL FANTASQUE IRIS PUCCINI AND World Premiere Composed by Pietro Mascagni HIS WORLD Music by Ottorino Respighi and Libretto by Luigi Illica WEEKEND ONE Gioachino Rossini American Symphony Orchestra, AUGUST 5–7 Puccini and Italian Musical Culture Choreography by John Heginbotham conducted by Leon Botstein, music director Puppetry and design by Amy Trompetter Directed by James Darrah WEEKEND TWO AUGUST 11–14 A magical ballet with giant A lush, fin-de-siècle exotic opera in which Beyond Verismo puppets and dancers suitable for a young girl is tricked into leaving her the whole family. home for a brothel in Tokyo’s notorious SPIEGELTENT JULY 1 – AUGUST 13 red-light district. A bewitchingly lovely THEATER forerunner of Madama Butterfly. CABARET, MUSIC, JULY 7–17 AND FINE DINING DEMOLISHING FILM SERIES JULY 21 – AUGUST 14 Hosted by Mx. Justin Vivian Bond EVERYTHING WITH The mirrored pavilion provides a PUCCINI AND THE sumptuous and magical environment AMAZING SPEED OPERATIC IMPULSE to enjoy cutting-edge cabaret and world- World Premiere IN CINEMA class musical performances capped by Futurist puppet plays by fine dining, dancing, and more. Fortunato Depero Translated, designed, and directed by Dan Hurlin Original music by Dan Moses Schreier For a complete list of events and to order tickets 845-758-7900 | fishercenter.bard.edu Photo by ©Peter Aaron ’68/Esto. Table of Contents

Friday, July 15, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Mozart and Prokoﬁev

Friday, July 15, 8pm 7 BOSTON SYMPHONY ORCHESTRA PINCHAS ZUKERMAN, conductor and violin All-Mozart program

Saturday, July 16, 8pm 15 BOSTON SYMPHONY ORCHESTRA CHRISOPH VON DOHNÁNYI conducting RENÉE FLEMING, soprano Music of Ives, Strauss, and Tchaikovsky

Sunday, July 17, 2:30pm 29 BOSTON SYMPHONY ORCHESTRA GUSTAVO GIMENO conducting YUJA WANG, piano Music of Prokoﬁev, Ravel, Gershwin, and Stravinsky

Saturday-Morning Open Rehearsal Speakers July 9, 23; August 6, 13—Marc Mandel, BSO Director of Program Publications July 16; August 20, 27—Robert Kirzinger, BSO Assistant Director of Program Publications July 30—Composer/educator Gerard McBurney, guest speaker

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer. Walter H. Scott

TANGLEWOOD WEEK 2 TABLE OF CONTENTS 1 2016 Tanglewood

Prelude Concert Friday, July 15, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ARTHUR AND VICKI LORING PRELUDE CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA HALDAN MARTINSON, violin JULIANNE LEE, violin CATHY BASRAK, viola OWEN YOUNG, cello

MOZART String Quartet in D, K.575 Allegretto Andante Menuetto: Allegretto; Trio Allegretto

PROKOFIEV String Quartet No. 2 in F, Op. 92 Allegro sostenuto Adagio Allegro

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

There are few string quartets as ravishing as the D major quartet, K.575, of Wolfgang Amadè Mozart (1756-1791). Dated June 1789, it is the first of his last group of three quartets, known collectively as the Prussian Quartets for their dedication to Friedrich Wilhelm II, King of Prussia, for whom Mozart composed them on commission. One clue to its spirit is that the ineffably tender opening theme is marked sotto voce, barely audible, and likewise the beginning of the second movement. Most of the dynamics throughout are soft. Another clue is that the opening languid, whispering theme in the violin is echoed in the viola. Surely Mozart had more in mind than just equalizing all four voices in the quartet, a process Haydn began and Mozart carried on. As was often said at the time, the Classical string quartet is like a conversation of equals. But the atmosphere of the D major is not merely tender; it resembles a series of operatic scenes between lovers. They converse, there are moments of poignancy and even friction, but mostly they love, and dance, and sing. The piece is short, every movement compact and straightforward in formal layout. Usually in a sonata-form first movement the first theme is bolder, the second more lyrical. Here both are lyrical, the second a bit more ritmico. The development is short, the recapitulation tidy and literal. In his forms and gestures Mozart could be as quirky as anybody, but that is not his intention here. The second movement begins with another delicately tender theme, but most of it is given to a lyrical duet between violin and cello, their phrases lovingly echoing each other. In the intimate Menuetto the lovers dance, seemingly alone; again much of the music is made of calls and responses, with perhaps an incipient tiff quickly resolved. Then more romance: the finale begins with a flowing duet between viola and cello. There is a bit of contrast in the second theme, but most of the movement is given to the sighing main theme. All this reminds us that Mozart was perhaps the greatest poet of love in our music—and this time he left the storms and stresses out of it. As a composer who spent much of his life in the Soviet Union, subject to the alternate approval and censure of those in power, Sergei Prokofiev (1891-1953) constantly had to walk the tightrope of political conciliation. For a while he exiled himself—moving to America and Paris—but eventually returned home, where he was celebrated, then regarded with suspicion, then eventually embraced again. He was back in favor when the Nazis attacked Moscow in June of 1941, enough so that he was evacuated with other favored cultural leaders to the town of Nalchick in the Autonomous Soviet Republic of Kabardino-Balkar in the mountains of the North Caucasus. Prokofiev’s String Quartet No. 2 was born from the folk music native to the Kabardinian and Balkarian ethnic groups of this area. Prokofiev was inspired not only by the melodies, but by the character of the Kabar- dinian folk songs and dances: rustic, fierce, relentless—the sort of music to survive

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a first-come, first-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes be fore concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOOD WEEK 2 PRELUDE PROGRAM NOTES 3 for centuries in a remote mountainous region. The first movement, Allegro sostenuto, is dense and full of patterns created by the layering of tunes and accompanimental motives. The texture clears a bit in the middle as the voices volley fragments back and forth, but the rhythmic energy never flags. The main theme of the Adagio is a love song in the cello around which the other instruments weave and swell; the middle section turns a sudden corner into a clever, skittish dance. The third and final movement, Allegro, begins with an off-kilter windup into another dance. This one is simultaneously gruff and light on its feet, a wild ride of constant motion but elusive tempos, with madcap and witty detours.

Notes by JAN SWAFFORD (Mozart) and ZOE KEMMERLING (Prokoﬁev) Jan Swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, The Vintage Guide to Classical Music, and, most recently, Beethoven: Anguish and Triumph. An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart. Zoe Kemmerling is a Boston-based violist, Baroque violinist, and writer who was the 2012 Publications Fellow at the Tanglewood Music Center.

Artists

Haldan Martinson joined the Boston Symphony Orchestra as a section violinist in November 1998 and in summer 2000 was appointed principal second violin, in which capacity he occupies the Carl Schoenhof Family Chair. As the BSO’s principal second violin, he is also a member of the Boston Symphony Chamber Players. Mr. Martinson made his solo debut with the Los Angeles Philharmonic in 1990 and his national television debut in 1988 performing on Johnny Carson’s Tonight Show. He has also been soloist with numerous other orchestras, including the New Philhar- monia Orchestra, Longwood Symphony Orchestra, Waterloo-Cedar Falls Symphony Orchestra, Metamorphosen Chamber Orchestra, and Yale Symphony Orchestra. The recipient of numerous prizes, scholarships, and awards, including the Spot- light Award of the Los Angeles Music Center, he has participated in the chamber music festivals of Ravinia, Taos, Santa Fe, and La Jolla. From 1996 to 1998 he was a member of the Metamorphosen Chamber Ensemble. From 1998 to 2002 he was a member of the critically acclaimed Hawthorne String Quartet. Mr. Martinson holds a B.A. in music from Yale College, where he was awarded the Louis Sudler Prize, one of the most prestigious awards granted by the university. He was concertmaster of the Yale Symphony Orchestra from 1991 to 1994 and received his master of music degree from the New England Conservatory in 1997. His teachers included Robert Lipsett, Endré Granat, David Nadien, Aaron Rosand, and James Buswell. Haldan Martinson is also a prize-winning composer whose works for string ensemble have been featured frequently in concert. One of his works, Dance of the Trolls for string orchestra, was commissioned by the Crossroads Chamber Orchestra in 1988 and has since been performed throughout Southern California. A member of the Boston Symphony Orchestra since 2007, Julianne Lee became the orchestra’s assistant principal second violin in the fall of 2014, occupying the Charlotte and Irving W. Rabb Chair, having previously served as acting assistant concertmaster from January 2013 through August 2014. A recipient of the Presser Music Award, Ms. Lee made her solo debut at age seven with the Lake Placid Symphonietta and has also appeared as soloist with the KBS Symphony Orchestra in Korea and the

4 Philharmonie Baden-Baden in Germany. Her chamber music collaborations include concerts with such renowned artists as Joseph Silverstein, Peter Wiley, Roger Tap- ping, Samuel Rhodes, and Arnold Steinhardt. Ms. Lee has participated in the Marl- boro Music Festival and Santa Fe Chamber Music Festival and toured Europe with the Australian Chamber Orchestra as guest principal violist. She holds a bachelor’s degree in violin performance and a diploma in viola performance from the Curtis Institute of Music, where she studied with Victor Danchenko, Joseph Silverstein, and Joseph DePasquale. She received her master’s degree from the New England Con- servatory of Music, working with Donald Weilerstein and Kim Kashkashian. Cathy Basrak is assistant principal viola of the Boston Symphony Orchestra, occupying the Anne Stoneman Chair, and principal viola of the Boston Pops Orchestra. A native of the Chicago area, Ms. Basrak earned her bachelor’s degree from the Curtis Institute of Music in spring 2000. Her teachers included Joseph de Pasquale, principal viola of the BSO from 1947 to 1964, and Michael Tree of the Guarneri String Quartet. She has participated in the Marlboro Music Festival, Banff Centre for the Arts, and Norfolk Chamber Music Festival. In addition, she has performed with the Brandenburg Ensemble and Boston’s Metamorphosen Chamber Ensemble and appeared as soloist with the Philadelphia Orchestra, the Chicago, Detroit, and Bavar- ian Radio symphony orchestras, and the Boston Pops with John Williams. Ms. Basrak has won several awards, including grand prize in the Seventeen Magazine/ General Motors National Concerto Competition, first prize in the William E. Primrose Memo- rial Scholarship Competition, first prize in the Irving M. Klein International String Competition, and second prize in the 46th International Music Competition of the ARD in Munich. Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo. Mr. Young’s performances have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Harrisburg, and WGBH in Boston. He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City. Mr. Young was previously on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; he is currently on the faculty of Berklee College of Music and is active in Project STEP (String Training and Education Program for students of color). From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. His teachers included Elinor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. Mr. Young holds both bachelor’s and master’s degrees from Yale University. He was a Tangle- wood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellow- ship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Symphony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he joined the BSO in 1991. Owen Young occupies the John F. Cogan, Jr., and Mary L. Cornille Chair in the orchestra’s cello section.

TANGLEWOOD WEEK 2 PRELUDE PROGRAM NOTES 5 The Allison G. and William F. Achtmeyer Concert Friday, July 15, 2016 The performance on Friday evening is supported by a generous gift from Great Benefactors Allison G. and William F. Achtmeyer. A Tanglewood patron for more than twenty years and a BSO subscriber for more than thirty years, Bill served on the BSO Board of Overseers from 2005 to 2010, when he was elected to the Board of Trustees. Bill currently serves as chair of the Board of Trustees and co-chair of the Beyond Measure Campaign. He previously served as a vice-chair of the Board of Trustees from 2013 to 2014. In addition to attending Symphony performances, Bill and Alli regularly attend Holiday Pops and Tanglewood performances. They have annually served on the benefactor committee for Symphony galas since the 2011-12 season, including as chairs of the Symphony Gala in 2013. Bill has also been involved with BSO corporate events for many years, and was co-chair for A Company Christmas at Pops in 2009 and 2010. He has served on many board committees over the years, including as chair of the Strategic Planning Committee and a member of the Executive, Lead- ership Gifts, and Overseers Nominating committees. Bill and Alli have generously supported many initiatives at the BSO, including the Symphony Hall Forever Fund, Immediate Impact Fund, Symphony and Tanglewood Annual Funds, Symphony and Tanglewood galas, and BSO corporate events. Bill is the founder and senior managing director of Parthenon-EY. He was the chairman and managing partner of The Parthenon Group LLC, a leading strategic advisory ﬁrm which merged with Ernst & Young in September 2014. Bill has served on the boards of numerous non-proﬁt organizations, including the Tuck School of Business at Dartmouth College, Belmont Hill School, Handel and Haydn Society, Massachusetts Society for the Prevention of Cruelty to Children, Tenacity, and the Museum of Fine Arts, Boston, among others. Alli, who is the owner of StyleAlli Consulting, is a board member of the Isabella Stewart Gardner Museum, Friends of the Public Garden, and UNICEF. Stu Rosner

6 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Friday, July 15, 8pm THE ALLISON G. AND WILLIAM ACHTMEYER CONCERT

PINCHAS ZUKERMAN, conductor and violin

ALL-MOZART PROGRAM

Symphony No. 25 in G minor, K.183(173dB) Allegro con brio Andante Menuetto Allegro

Violin Concerto from Serenade in D, “Haffner,” K.250(248b) Andante Menuetto Rondo: Allegro Mr. ZUKERMAN

{Intermission}

Symphony No. 39 in E-ﬂat, K.543 Adagio—Allegro Andante con moto Menuetto: Allegretto Finale: Allegro

The performance of Mozart’s Symphony No. 25 is supported by a gift from Bernard and Elaine Roberts.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOOD WEEK 2 FRIDAY PROGRAM 7

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Symphony No. 25 in G minor, K.183(173dB)

First performance: Undocumented; composed Salzburg, 1773, presumably performed there at that time. First Tanglewood performance: July 13, 1963, Boston Symphony Orchestra, Erich Leinsdorf cond. Most recent Tanglewood performance by the BSO: July 28, 2000, James Conlon cond. Most recent Tanglewood performance: August 24, 2001, Orchestra of St. Luke’s, Donald Runnicles cond. The better-known of the two G minor symphonies is the later one, No. 40, the central panel of the triptych with which Mozart closed out his work as a symphonist in the summer of 1788—not because he wanted to, but because his career was in a slump, one from which, thanks to The Magic Flute, he was just beginning to emerge when he died, and there was no demand for symphonies from him. The Sym phony No. 40 is the embodiment of Mozartian darkness and trage- dy, surpassed only by the transcendent string quintet in the same key he had written the year before. (The Viennese-born English critic Hans Keller once remarked that if a symphony and a string quartet are equally good, the string quintet is better.) The earlier G minor Symphony, No. 25, exhibits a very different temper and even a rather different accent. The sense of pathos that dominates No. 40 is most often ex pressed through downward chromatic motion, and I hear nothing of this in No. 25. On the other hand, what sets No. 40 apart from the other 1780s members of Mozart’s G minor family is an extraordinary and nervous urgency, and that is present in its precursor. No. 25 takes its manner from the Sturm und Drang symphonies that Haydn had recently written. Mozart even takes on the charac-

TANGLEWOOD WEEK 2 FRIDAY PROGRAM NOTES 9 teristically bony Haydn texture—his own most typically being fleshy and lush—when he begins with severe, unharmonized octaves, something he will also do in the minuet and finale. In the midst of all these powerful surges of energy, the Andante stands out as a very different kind of music, plaintive, the violins muted, and wondrous rhythmic subtleties all along the way. Where are the downbeats really? This is one of the most fragrantly atmospheric of Mozart’s slow movements. He follows this dream with a stern minuet, with a Trio in major and for winds alone. The finale returns to the world of the first movement, electrifying syncopations and all, and remains in minor to the end, that end being an especially masterly, terse coda.

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 compilations of his program notes, devoted to symphonies, concertos, and works for chorus and orchestra.

10 Wolfgang Amadè Mozart Violin Concerto from Serenade No. 7 in D, K.250(248b), “Haffner” First performance: July 21, 1776, as part of the complete, nine-movement “Haffner” Serenade (of which it is the second, third, and fourth movements) for the wedding (which took place the next day) of Maria Elizabeth Haffner, daughter of the burgomaster of Salzburg. Initial BSO performances: November 1885, Wilhelm Gericke cond. (Andante and Menuetto from the violin concerto, as part of a selection of four movements from the complete work); December 1893, Emil Paur cond., Franz Kneisel, soloist for all three concerto movements, as part of a selection of five movements from the complete work). First Tanglewood performance of the violin concerto movements: July 22, 1950, Serge Koussevitzky cond. (preceded by the serenade’s opening movement). Most recent Tanglewood performance (also the most recent BSO performance): August 5, 1984, Charles Dutoit cond., Joseph Silverstein, soloist, as part of a complete performance of the serenade. During the middle years of the 1770s, Mozart turned away for a time from composing, limiting his output of larger orchestral scores pretty much to violin concertos and serenades, both of which were evidently in demand in Salzburg. The Haffner Serenade is by far the biggest and grandest of his serenades, comprising nine spacious movements. It was composed for a family with which Mozart had close ties over a period of years, that of the local burgomaster Sigmund Haffner, whose daughter Maria Elizabeth was to marry a certain Franz Xavier Späth, the nuptials being celebrated on July 22, 1776; Mozart was asked to create music to be performed by the orchestra at a bridal party the night before. Serenades in Mozart’s day frequently contained one or more movements that featured a solo instrument. In this instance he essentially embedded a violin concerto within the serenade as a whole: Allegro maestoso—Allegro molto [Violin concerto:] Andante Menuetto Rondo: Allegro Menuetto galante Andante Menuetto Adagio— Allegro assai At a later time, Mozart in fact removed the “violin concerto” entirely, made some other adjustments, and performed the resulting work as a symphony, which he referred to in September 1779 as “the Haffner music”—though this would not have been his Haffner Symphony (No. 35), which was not composed until 1782 and derived from another, partially lost Haffner Serenade. In any event, the decision to excise the “violin concerto” was surely not made on musical grounds. Mozart must have chosen to reduce the length of the work for purely practical reasons: whereas a serenade was intended to fill the time of an event and had to be rather lengthy, a symphony was normally used to introduce a concert, which would generally continue with shorter miscellaneous pieces. The “concerto” movements of the Haffner Serenade are extraordinarily expressive. Mozart was certainly practiced in the medium of the violin concerto by this time, having composed four such works in the last eight months of 1775! The Andante that introduces the violin solo for the first time approaches sublimity in its unbroken

TANGLEWOOD WEEK 2 FRIDAY PROGRAM NOTES 11 melodic ﬂow. The G minor minuet that follows has, for its middle section, a striking Trio in G major in which the solo violin plays against an ensemble consisting only of wind instruments. The ﬁnale of the “concerto” is a spacious and lively rondo.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Wolfgang Amadè Mozart Symphony No. 39 in E-flat, K.543 First performance: Undocumented; composed summer 1788 for a concert series that seems not to have taken place. First BSO performances: January 1884, Georg Henschel cond. First Tanglewood performance: August 7, 1937, Serge Koussevitzky cond. (the BSO’s first summer at Tanglewood). Most recent Tanglewood performance: July 26, 2015, Christoph von Dohnányi cond. By June 1788 Mozart had entered on the long, steady decline of his fortunes that culminated in his death, at age thirty-five, three-and-a-half years later. Gone were the heady days of 1784, when his music was in constant demand in Vienna (during one hectic ele ven-day period, he gave ten concerts!) and he was writing a sheaf of piano concertos and other works. He had hoped to obtain financial stability through the performance of his operas, but The Marriage of Figaro achieved only nine performances during its season in the repertory (1786), partly, at least, because other, more influentially placed composers had their own fish to fry and were not interested in supporting Mozart. Then came Don Giovanni, composed for the citizens of Prague who had taken Figaro completely to their hearts. Although it was a sensation in Prague in the fall of 1787, the first Vienna perform ances the following spring did not attract enough attention; the piece was simply too serious to suit the taste of the court. Mozart’s attempt to improve his family’s situation during the difficult summer of 1788 is clearly apparent in the “minor” works he was composing at the time, along with the three symphonies that were to be his last in the genre (nos. 39, 40, and 41). The smaller works are all either educational or easy compositions that might be expected to have a good sale when published. It is hardly likely that Mozart would have composed three symphonies at a time when he was in desperate financial straits if he didn’t have some hope of using them in a practical way to support his family. Probably he wrote all three of the symphonies with the aim of intro- ducing them at his own concerts—concerts that, as far as we know, never actually took place. We can only be grateful that the symphonies were composed in any case. Mozart reinforced the striking differences in mood among the three symphonies— from mellow lyricism to darkly tragic grace to festive formality—with simple but significant differences in the instrumentation of the three pieces. In Symphony No. 39 he em ployed clarinets instead of oboes, whereas in No. 40 he preferred the sharper “bite” of the oboes but completely omitted trumpets and timpani, since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal complement of brass, as in No. 39, but wrote for oboes instead of clarinets. Following the summer of 1788, Mozart gave no more “academies” (as concerts for the benefit of the composer were called). In fact, he almost totally gave up taking part in the concert life of Vienna; only once more did he have occasion to write another concert piece for himself, the B-flat piano concerto, K.595, which he played in 1791. His last sympho nies, along with those of Haydn, marked a miraculous

12 decade of Classical-era accomplishment between 1785 and 1795. Among the works that appeared in this period were Haydn’s six Paris symphonies (1785-86), Mozart’s Prague Symphony (1786), the two symphonies Haydn wrote for Johann Tost (1788), Mozart’s last three sympho nies (1788), Haydn’s symphonies for Count d’Ogny (1788-89); and the twelve that Haydn wrote for London (1791-95). After 1795, Haydn, too, left off composing symphonies, and the monument that was the Viennese Classical symphony was fully established.

STEVEN LEDBETTER Guest Artist

Pinchas Zukerman Equally acclaimed as violinist, violist, conductor, pedagogue, and chamber musician, Pinchas Zukerman has been a signiﬁcant presence in the world of music for more than four decades. Devoted to the next generation of musicians, he has inspired younger artists with his magnetism and passion. His enthusiasm for teaching has resulted in innovative programs in London, New York, China, Israel, and Ottawa. Mr. Zukerman’s 2015-16 season includes more than 100 performances worldwide, bringing him to multiple destinations in North and South America, Europe, Asia, and Australia. In his seventh season as principal guest conductor of London’s Royal Philharmonic Orchestra, he leads the ensemble at home in the United Kingdom and on an extensive United States tour. Additional orchestral engagements take him to the Boston, Chicago, San Francisco, Dallas, and New World symphonies, and on tour with the Orpheus Chamber Orchestra, including a performance at New York’s Carnegie Hall. Overseas he performs with the Mariinsky, Korean Chamber, and San Carlo orchestras, tours with the Salzburg Cam- erata and Staatsphilharmonie Rheinland-Pfalz, and returns to Australia for appearances with the Queensland Symphony Orchestra in Brisbane and the West Australian Symphony Orchestra in Perth. Rounding out the season are recital appearances in the United States, UK, France, and Australia, and tours with the Zukerman Trio in the United States, Italy, Spain, Australia, Japan, and throughout South America. In 2016 he begins his tenure as artist-in-association with the Adelaide Symphony Orchestra. Over the last decade, Pinchas Zukerman has become as noted a conductor as he is an instrumentalist, leading many of the world’s top ensembles. He chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pio- neered the use of distance-learning technology in the arts. In Canada, where he served as music director of the National Arts Centre Orchestra from 1999 to 2015, he established the NAC Institute for Orchestra Studies and the Summer Music Institute encompassing the Young Artists, Conductors, and Composers programs. Born in Tel Aviv in 1948, Pinchas Zukerman came to America in 1962 and studied at the Juilliard School with Ivan Galamian. He has been awarded the Medal of Arts and the Isaac Stern Award for Artistic Excellence, and was appointed as the Rolex Mentor and Protégé Arts Ini- tiative’s ﬁrst instrumentalist mentor in the music discipline. The most recent release in his discography of more than 100 titles features Brahms’s Symphony No. 4 and Double Concerto with the National Arts Centre Orchestra and cellist Amanda Forsyth, recorded in live performances at Ottawa’s Southam Hall. Mr. Zukerman made his BSO debut as violin soloist in July 1969 at Tanglewood, subsequent Tanglewood appearances including his BSO conducting debut in July 1977. He made his BSO subscription series debut in January 1979 performing on both violin and viola. His most recent Tan- glewood appearance was in July 2015, as soloist in Mozart’s G major violin concerto, K.216, with Ludovic Morlot conducting. His most recent subscription appearance, as both conductor and violinist, was for a Symphony Hall program of Tchaikovsky, Elgar, and Schubert in October 2015.

TANGLEWOOD WEEK 2 GUEST ARTIST 13 The Jenkins Family Concert Saturday, July 16, 2016 The performance on Saturday evening is supported by a generous gift from BSO Life Trustee Charles H. Jenkins, Jr., and his wife, Dorothy Jenkins. Great Benefactors Charlie and Dorothy are longtime supporters of the Boston Sym- phony Orchestra. They became interested in the BSO while they were both students in the Boston area. Charlie was studying for his D.B.A. at Harvard Business School, and Dorothy was at Wellesley College. They attended the free open rehearsals at Symphony Hall on Thursday nights. Charlie and Dorothy have summered in the Berkshires for many years, and have been attending performances at Tanglewood since the early 1970s. Their love of classical music and Tanglewood led them to generously support the campaign to build Seiji Ozawa Hall and, more recently, the Tanglewood Forever Fund. Charlie and Dorothy have supported the Tanglewood Annual Fund for many years, and they are Koussevitzky Society members at the Koussevitzky Virtuoso level. In addition, they have supported Tanglewood galas, the Tanglewood Music Center Opera Training Program, and the Dorothy and Charlie Jenkins Fellowship, which provides support for an annual full fellowship at the Tan- glewood Music Center. Charlie and Dorothy have served on several Tanglewood gala committees, and they served as co-chairs of the gala in 2006. Charlie was elected to the BSO Board of Overseers in 1998 and to the Board of Trustees in 2008. He was elevated to Life Trustee in 2013. Charlie is the chairman of the board emeritus of Publix Super Markets Inc., the largest employee-owned retailer in the United States. He also serves as a trustee emeritus of Emory University. Dorothy is a director of Westlake Chemical Corpo- ration. She also serves as a trustee of Wellesley College and the John and Mable Ringling Museum of Art Foundation. Charlie and Dorothy have two children, Jennifer and Charles Anthony. BSO Archives

14 2016 Tanglewood

Saturday, July 16, 8pm BOSTON SYMPHONY ORCHESTRA Monday, July 18, 8pm TANGLEWOOD MUSIC CENTER ORCHESTRA

Please note that conductor CHRISTOPH VON DOHNÁNYI, who had already arrived at Tanglewood and begun rehearsals, has regretfully had to withdraw from his Saturday-night and Monday-night appearances with the Boston Symphony Orchestra and Tanglewood Music Center Orchestra due to complications following recent cataract surgery. We look forward to his return late next month, when he is scheduled to conduct Beethoven’s Symphony No. 9 with the BSO on Sunday afternoon, August 28.

BSO Assistant Conductor KEN-DAVID MASUR will conduct the Saturday-night BSO concert, and Monday’s TMCO performance of Beethoven’s “Eroica” Symphony, in Christoph von Dohnányi’s place. The program in each case remains unchanged.

Ken-David Masur Ken-David Masur, who began his appointment as assistant conductor of the Boston Symphony Orchestra in September 2014, made his BSO debut at Tanglewood in July 2012 and his BSO subscription series debut at Symphony Hall in January 2015. In 2015-16, besides leading BSO subscription concerts, he continued in his post as principal guest conductor of the Munich Symphony, also conducting concerts with the Nation- al Philharmonic of Russia, the City Chamber Orchestra of Hong Kong, and the Orquesta Clásica Santa Cecilia in Madrid. In 2014-15 he twice conducted the BSO in Boston at short notice, substituting for Tugan Sokhiev in January (his BSO subscription series debut) and for Vladimir Jurowski in February. Previous appointments include posts as assistant conductor of the Orchestre National de France in Paris from 2004 to 2006, and as resident conductor of the San Antonio Symphony in 2007. Recent engagements also include the Dresden, Israel, and Japan phil- harmonics, Orchestre National de Toulouse, and the Hiroshima and Memphis symphonies. In 2010 he conducted the London Symphony Orchestra as one of three finalists in the prestigious Donatella Flick Conducting Competition in London. In 2011 Mr. Masur was the recipient of the Seiji Ozawa Conducting Fellowship at Tanglewood, where he returned by invitation as a Con- ducting Fellow in 2012. Ken-David Masur received his B.A. from Columbia University and from 1999 to 2002 served as the first music director of the Bach Society Orchestra and Chorus there, also touring Germany and releasing a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. He received further musical training at the Leipzig Con- servatory, the Detmold Academy, the Manhattan School of Music, and the Hanns Eisler Conser- vatory in Berlin, where he was a five-year master student of bass-baritone Thomas Quasthoff. Mr. Masur studied conducting primarily with his father Kurt Masur. Together with his wife, pianist Melinda Lee Masur, he serves as artistic director of the Chelsea Music Festival (chelsea- musicfestival.org), an annual multi-media/multi-sensorial summer music festival in New York City. He received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album “Salon Buenos Aires.” Ken-David Masur is featured in this summer’s behind-the-scenes online video series “New Tan- glewood Tales: Life On Stage and Off,” also to be aired on PBS.

TANGLEWOOD WEEK 2 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Saturday, July 16, 8pm THE JENKINS FAMILY CONCERT

CHRISTOPH VON DOHNÁNYI conducting

IVES “The Unanswered Question”

STRAUSS Four Last Songs Frühling [Spring] September Beim Schlafengehen [Upon Going to Sleep] Im Abendrot [At Sunset] RENÉE FLEMING, soprano

Texts and translations begin on page 20.

{Intermission}

TCHAIKOVSKY Symphony No. 6 in B minor, Opus 74, “Pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

The performance of Tchaikovsky’s Symphony No. 6, “Pathétique,” is supported by a gift from Geri and Roy Liemer, in honor of their grandson Béla.

TANGLEWOOD WEEK 2 SATURDAY PROGRAM 15 16 NOTES ON THE PROGRAM

Charles Ives (1874-1954) “The Unanswered Question”

Composition and premiere(s): Composed 1906-08 for chamber ensemble, paired originally with Ives’s “Central Park in the Dark” in 1908 as “Two Contemplations”; revised and enlarged 1930-35; premiere of final version May 11, 1946, given by a chamber orchestra at the Juilliard School, New York, Theodore Bloomfield cond.; premiere of original version March 1984, New York, American Composers Orchestra, Dennis Russell Davies cond. Only previous Boston Symphony performances, both at Tanglewood: July 8, 1956, Lukas Foss cond.; July 8, 1972, Bruno Maderna cond. Christoph von Dohnányi conducts the revised version of 1930-35 in this concert. The enormous range of style and technique in the music of Charles Ives is not something that developed quickly or casually. Ives was a young organ prodigy in Danbury, Connecticut, when he began composing in familiar forms and genres: songs for the parlor, marches for his father’s band, pieces for organ and church choir. Meanwhile, his father George Ives bequeathed his son an inquiring and adventurous spirit regarding the materials of music. At the same time as he was writing conventional music for immediate use, young Charlie was also experimenting with music in two keys, with free harmonies, with effects of space and juxtaposition—the latter including variations on a hymn played by contingents of players spread around a town square, the theme and variations played together. In 1898 Ives graduated from Yale, having studied with perhaps the finest American composition teacher of the day, the German-trained Horatio Parker. It was inevitable that Parker would be relentlessly conservative in his approach, but he taught Ives a great deal about the shaping of works. At the same time, in college Charlie played ragtime piano at parties and local theaters, and amused his friends from the key- board with what he called “take-offs” of football games and other campus events. After college, beginning to realize that the kind of music he wanted to write was never going to make him a living, he got a job in the life insurance industry. In the next decades he rose to near the top of that profession, while at the same time composing at white heat nights and weekends and vacations. An important thing to understand about Ives is that every kind of music excited him if it was earnest and authentic, whether a Brahms symphony, a sentimental gospel hymn, a ragtime, a town band on the march. He had a particular love of the enthusiasms and quirks of amateur musicians, and translated even their mistakes into his music. “Bandstuff,” he told one of his longsuffering copyists. “They didn’t always play right & together and it was as good either way.” To Ives all music was an avatar of the eternal human spirit that underlies it. As he matured as a composer, he was determined to evoke in his work what his father had called “the music of the ages.” In the process he never left anything behind, neither his conventional side nor his experimental, and he found continually new ways to mingle the styles and voices he had at his command—a larger range of style and technique than any composer had ever wielded before. Ives’s smaller works are among other things a record of the process he developed during his creative journey. They can be seen as products of his musical laboratory, in which ideas were cycled and recycled as he taught himself to write a kind of music quite unimagined in the world before. His laboratory explored technical ideas often decades ahead

TANGLEWOOD WEEK 2 SATURDAY PROGRAM NOTES 17 of their time—polytonality, polyrhythm, collage effects, complex rhythms, free harmony, and on and on—and no less involved a sense of traditional genres centered on the music he grew up with in Danbury. In his music all these elements circulate, mingling in continually fresh and unexpected ways. Composed around 1906-07, The Unanswered Question is perennially Ives’s most popular work and one of his most prophetic. It is a kind of musical collage in three layers. A distant background of strings represents “the Silence of the Druids.” Over it a trumpet repeatedly intones “the Perennial Question of Existence,” and a group of winds attempts to solve the question with increasing fury. Finally the trumpet asks the question one last time, answered by an eloquent silence. For Ives, a question was better, more productive, than an answer. His life, his spirituality, and his music are an abiding illustration of that vision of endless questioning, endless exploration.

JAN SWAFFORD Jan Swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, The Vintage Guide to Classical Music, and, most recently, Beethoven: Anguish and Triumph. An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

18 Richard Strauss (1864-1949) Four Last Songs First performance: May 22, 1950, Philharmonia Orchestra, London, Wilhelm Furt wäng- ler cond., Kirsten Flagstad, soprano. First Tanglewood performance: August 24, 1979, New York Philharmonic, Zubin Mehta cond., Montserrat Caballé, soprano. First BSO perform ance: July 8, 1983, Tanglewood, Seiji Ozawa cond., Leontyne Price, soprano. Most recent Tanglewood performance: July 31, 2010, Juanjo Mena cond., Hei-Kyung Hong, soloist. In 1947, when Strauss made the first sketches for Im Abendrot, he went to London, where Sir Thomas Beecham had organized a festival of his music. At a press confer- ence a young reporter asked the eighty-three-year-old composer about his plans for the future. “Oh,” said Strauss, never one to waste words, “to die.” Not quite two years later he realized that plan, remarking to his daughter-in- law that death was just the way he had composed it at twenty-five in his tone poem Death and Transfigura tion. But first there was work to be done—the composition of a Duet-Concertino for clarinet, bassoon, and orchestra, and the writing of five songs.* The world in which he had grown up and in whose artistic life he had played such a prominent part had collapsed about him. He was in poor health, tired, discouraged, but when he read Im Abendrot (At Evening Glow) by the Romantic poet von Eichendorff, he was deeply moved. Its description of an old couple who have, hand in hand, traversed sorrow and joy, and who are now looking at what is perhaps death, perfectly fit the Strausses’ own situation in the fifty-fourth year of their marriage. To his Eichen dorff song, which alludes softly to Death and Transfiguration in its last bars, he added three songs to verses by Hermann Hesse— no less inspired than Im Abendrot, particularly Beim Schlafengehen (Upon Going to Sleep), in which a poem of three stanzas becomes a song with four, the third, wordless one being sung by a solo violin. Pauline Strauss, the composer’s wife, had been a renowned soprano in her youth, and the sound of the soprano voice was the one sound Richard loved even more than that of the French horn. Like his father, Franz Strauss, the horn player, Pauline, the soprano, was difficult, but her husband loved her steadfastly and he said so in many of his compositions. All the lovely soprano lines he wrote are one unending love song to her, and Im Abendrot—but indeed the whole set of four songs—is the last of these love letters.

* Five? Yes: Strauss kept and orchestrated four songs, the ones now known as the Four Last (not his title, of course), but sent a ﬁfth, with piano accompaniment only, to Maria Jeritza, the Czech soprano who had sung so gloriously in many of his operas. Jeritza, who, concealed behind her married name, is also the dedicatee of September, kept that ﬁfth song, Malven (Mallows), to herself, and it came to light only after her death in 1982.

TANGLEWOOD WEEK 2 SATURDAY PROGRAM NOTES 19 RICHARD STRAUSS Four Last Songs

Frühling Spring In dämmrigen Grüften In dusk-dim vaults Träumte ich lang I’ve long dreamed Von deinem Bäumen und blauen Lüften, of your trees and blue skies, Von deinem Duft und Vogelsang. of your fragrance and bird-song. Nun liegst du erschlossen Now you are revealed, In Gleis und Zier, glittering, adorned, Von Licht übergossen bathed in light Wie ein Wunder vor mir. like a miracle before me. Du kennst mich wieder, You know me once again, Du lockst mich zart, you beckon to me tenderly, Es zittert durch all meine Glieder your blessed presence Deine selige Gegenwart! sets all my limbs trembling! HERMANN HESSE

September September Der Garten trauert, The garden mourns, Kühl sinkt in die Blumen der Regen. the cooling rain falls upon the ﬂowers. Der Sommer schauert The summer shudders, Still seinem Ende entgegen. silently facing his end. Golden tropft Blatt um Blatt Leaf after golden leaf drops down Nieder vom hohen Akazienbaum. from the high acacia tree. Sommer lächelt erstaunt und matt Summer, surprised and weak, In den sterbenden Gartentraum. smiles at the fading garden- dream. Lange noch bei den Rosen Yet he lingers still, Bleibt er stehn, sehnt sich nach Ruh. among the roses, yearning for rest. Langsam tut er die Slowly he closes Müdgeword’nen Augen zu. his wearied eyes. HERMANN HESSE

Beim Schlafengehen Upon Going to Sleep Nun der Tag mich müd gemacht, Now the day has made me weary: Soll mein sehnliches Verlangen let the starry night gather up Freundlich die gestirnte Nacht my ardent longings, lovingly, Wie ein müdes Kind empfangen. as it would a tired child. Hände, lasst von allem Tun, Hands, leave off all your toil, Stirn vergiss du alles Denken, mind, put aside all your thoughts: Alle meine Sinne nun all my senses long Wollen sich in Schlummer senken. to settle, now, into slumber. Und die Seele unbewacht, And the soul, unencumbered, Will in freien Flügen schweben, wants to soar in free ﬂight Um im Zauberkreis der Nacht into night’s magic realm, Tief und tausendfach zu leben. to live deeply, a thousandfold. HERMANN HESSE

0DKOHU·V1RRU0R]DUW·V1R" $W7KH)DLUPRQW&RSOH\3OD]DZHDSSUHFLDWH DOORXUJXHVWV·SUHIHUHQFHV In a city renowned for its passionate embrace of the arts, there is a hotel that sits at LWVFHQWHU)DLUPRQW&RSOH\3OD]DLVKRQRUHGWREHWKH2IILFLDO+RWHORIWZRRI the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston 0DKOHU·V1RRU0R]DUW·V1R" $W7KH)DLUPRQW&RSOH\3OD]DZHDSSUHFLDWH DOORXUJXHVWV·SUHIHUHQFHV

LWVFHQWHU)DLUPRQW&RSOH\3OD]DLVKRQRUHGWREHWKH2IILFLDO+RWHORIWZRRI CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. O!cial Airline of the Boston Symphony Orchestra.

Im Abendrot At Sunset Wir sind durch Not und Freude Through pain and joy Gegangen Hand in Hand: we’ve traveled hand in hand; Vom Wandern ruhen wir let’s rest from wandering, now, Nun überm stillen Land. above the quiet land. Rings sich die Täler neigen, Around us the valleys are waning, Es dunkelt schon die Luft, already the sky is darkening, Zwei Lerchen nur noch steigen yet, still, two larks, dream-seeking, Nachträumend in den Duft. soar upward into the air. Tritt her und lass sie schwirren, Step close and let them ﬂy, Bald ist es Schlafenszeit, it’s nearly time for sleep: Dass wir uns nicht verirren lest we lose our way In dieser Einsamkeit. in this solitude. O weiter, stiller Friede! O spacious, silent peace, So tief im Abendrot. so deep in evening’s glow! Wie sind wir wandermüde— How travel-weary we are— Ist dies etwa der Tod? Could this perhaps be death? JOSEF VON EICHENDORFF Trans. MARC MANDEL

TANGLEWOOD WEEK 2 TEXTS AND TRANSLATIONS 21 22 Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 6 in B minor, Opus 74, “Pathétique” First performance: October 28, 1893, St. Petersburg, Tchaikovsky cond. (nine days before his death). First BSO performance: December 29, 1894, Emil Paur cond. First Tanglewood performance: August 13, 1938, Serge Koussevitzky cond. Most recent Tangle- wood performance: August 10, 2014, David Zinman cond. During Tchaikovsky’s last years, his reputation grew enormously outside of Russia, but he was left prey to deepening inner gloom, since his countrymen rarely recognized his genius. He had, moreover, been shattered by the sudden break- ing-off of the strange but profoundly moving epistolary relationship that he had carried on for fourteen years with Nadezhda von Meck, whose financial assistance and understanding had sustained him through difficult times. Though they never met face to face, their relationship was one of the stron- gest, in its emotional depth, that either of them was ever to experience; she, for unknown reasons, decided to end the correspondence decisively in Oc tober 1890. Tchaikovsky never fully recovered from the blow. Another reason for his depression was an old but continuing concern—the constant fear that his homosexuality might become known to the public at large or to the authorities (which would lead to terrible consequences, since homosexuality was regarded as a crime that might involve serious legal consequences, including banishment and the loss of his civil rights). Tchaikovsky was also concerned that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely (several decades ago it was completed by a Russian musicologist and performed as Tchai kovsky’s “Seventh Symphony”). But a trip to western Europe in December brought a warm reunion: he visited his old govern ess, whom he had not seen for over forty years. The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. As the composer wrote to his brother Nikolai, “There were moments when I returned into the past so vividly that it became weird, and at the same time sweet, and we both had to keep back our tears.” The retrospective mood thus engendered may have remained even though he returned to Russia at low ebb: “It seems to me that my role is finished for good.” Yet the recent opportunity to recall his childhood, when combined with his funda- mentally pessimistic outlook, may well have led to the program for the work that suggested it self to him and captured his attention on the way home. Within two weeks of writing the foregoing words, Tchaikovsky was hard at work on what was to become his masterpiece. Home again, he wrote in mid-February to a nephew that he was in an excellent state of mind and hard at work on a new symphony with a program—“but a program that will be a riddle for everyone. Let them try and solve it.” He left only hints: “The program of this symphony is completely saturated with myself and quite often during my journey I cried profusely.” The work, he said, was going exceedingly well. On March 24 he completed the sketch of the second movement— evidently the last to be outlined in detail—and noted his satisfaction at the bottom of the page: “O Lord, I thank Thee! Today, March 24th, completed preliminary sketch well!!!” The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate, an honor that he shared with Saint-Saëns, Boito, Bruch, and Grieg (who was ill and unable to be present). He was presented for the

TANGLEWOOD WEEK 2 SATURDAY PROGRAM NOTES 23 degree with a citation in Latin that appropriately singled out the “ardor fervidus” and the “languor subtristis” of his music. When he returned home he found that the or chestration would be more difficult than he expected: “Twenty years ago I used to go full speed ahead and it came out very well. Now I have become cowardly and unsure of myself. For instance, today I sat the whole day over two pages—nothing went as I wanted it to.” In another letter he noted, “It will be... no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.” Though Tchaikovsky was eager to begin an opera at once, the Sixth Symphony was to be the last work he would complete. The premiere on October 28 went off well de spite the orchestra’s coolness toward the piece, but the audience was puzzled by the whole—not least by its somber ending. Rimsky-Korsakov confronted Tchaikovsky at intermission and asked whether there was not a program to that expressive music; the composer admitted that there was, indeed, a program, but he refused to give any de tails. Five days later Tchaikovsky failed to appear for breakfast; he complained of indigestion during the night, but refused to see a doctor. His situation worsened, and in the evening his brother Modest sent for medical help anyway. For several days Tchaikovsky lingered on, generally in severe pain. He died at three o’clock in the morning on Novem ber 6. Though it is generally believed that Tchaikovsky’s death was the result of cholera brought on by his drinking a glass of unboiled water during an epidemic, the extraordinarily expressive richness of the Sixth Symphony, and particularly that of its finale, has inspired a great deal of speculation regarding the composer’s demise. It has even been suggested that Tchaikovsky poisoned himself, fearing denunciation of himself to the Tsar as a homosexual by a duke with whose nephew he had struck up a friendship! Other writers have asserted that the music was composed because of the composer’s premonitions of impending death. Yet perusal of his letters makes clear that until the last few days he was in better spirits than he had enjoyed for years, confident and looking forward to future compositions. The expressive qualities of the Sixth Symphony follow from his two previous symphonies, which are also concerned in various ways with Fate. The Fourth and Fifth symphonies had offered two views of man’s response to Fate—on the one hand finding solace in the life of the peasants, on the other struggling toward con quest, though through a somewhat unconvincing victory. In the Sixth Symphony, Fate leads only to despair.

24 Tchaikovsky never did reveal a formal program to the symphony, though a note found among his papers is probably an early draft for one: The ultimate essence of the plan of the symphony is LIFE. First part—all impul- sive passion, confidence, thirst for activity. Must be short. (Finale DEATH— result of collapse.) Second part love; third disappointments; fourth ends dying away (also short). In the end, all of this (and any possible elaborations of it) remained the composer’s secret. The title that it now bears came only the day after the first performance, when the composer, having rejected “A Program Symphony” (since he had no intention of revealing the program) and Modest’s suggestion of “Tragic,” was taken with his brother’s alternative suggestion, “Pathetic.” Modest recalled his brother’s reaction: “‘Excel lent, Modya, bravo, Pathetic !’ and before my eyes he wrote on the score the title by which it has since been known.” The title gives a misimpression in English, where “pathetic” has almost totally lost its original sense of “passionate” or “emotional,” with a hint of its original Greek sense of “suffering.” In French it still retains its significance. And the symphony is, without a doubt, the most successful evocation of Tchaikovsky’s emotional suffering, sublimated into music of great power. Ultimately, of course, Tchaikovsky’s farewell vision is a somber one, congruent with his own pessimistic view of life. But it is worth remembering—especially given all the stories that whirl around the composer—that his art, and especially the Pathétique Sym phony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it firmly behind him.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Guest Artists Christoph von Dohnányi Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. His longstanding relationship with London’s Philharmonia began with his appointment as that orchestra’s principal guest conductor in 1994; he served as principal conductor for eleven years from 1997, before being appointed Honorary Conductor for Life in 2008. Mr. Dohnányi opened his 2015-16 season on tour with the Philharmonia to Saffron Walden, Dortmund, Berlin, Prague, and Cologne, followed by the orchestra’s 70th-anniversary cel- ebratory concert. Other season highlights include concerts with the Orchestre de Paris, Cleveland Orchestra, New York Philharmonic, and the symphony orchestras of Boston, Sydney, and Chicago. In summer seasons he is a frequent guest at Tanglewood, leading concerts with the Boston Symphony Orchestra and Tanglewood Music Center Orchestra. Last season he conducted the Orches- tre de Paris, Israel Philharmonic, Filarmonica della Scala, Tonhalle-Orchester Zürich, Gewandhausorchester Leipzig, New York Philharmonic, and Boston Symphony Orchestra, and also led a concert with the student orchestra of the Music Academy of the West in Santa Barbara. Music Director Laureate of the Cleveland Orchestra (the ﬁrst to hold that post), he was that ensemble’s music director from 1984 to 2002, fol-

TANGLEWOOD WEEK 2 GUEST ARTIST 25 lowing two years as music director designate. Highlights of his tenure there included extensive touring and recording. In 1953 Sir Georg Solti appointed Mr. Dohnányi as répétiteur and assistant conductor at Oper Frankfurt. At twenty-seven he became Germany’s youngest general music director, at Theater Lübeck. Other appointments have included opera directorships in Frankfurt and Hamburg, and principal orchestral conducting posts in Germany, London, and Paris. His distinguished career as an opera conductor includes productions at the Royal Opera House–Covent Garden, the Metro- politan Opera, San Francisco Opera, Lyric Opera of Chicago, Opéra National de Paris, and, since the 1990s, Zurich Opera. He also led a variety of new productions at the Théâtre du Châtelet in Paris with the Philharmonia Orchestra and many productions at the Vienna State Opera. With the Vienna Philharmonic, he has appeared frequently at the Salzburg Festival and in concert, and has recorded several operas, as well as the complete symphonies of Mendelssohn. Born in Berlin, Christoph von Dohnányi studied law in Munich from the age of sixteen. After two years he changed to music, studying composition, piano, and conducting at the Hochschule für Musik und Theater. Upon graduation, he was awarded the Richard Strauss Prize for conducting by the City of Munich. He continued his studies in the United States with his grandfather, Ernst von Dohnányi, at Florida State University and at the Tanglewood Music Center. His many awards and recognitions include honorary doctorates from the Royal Academy of Music, the Eastman School of Music, and Oberlin College of Music. Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and at Tanglewood since his BSO subscription concerts of November 2002, most recently for two Tanglewood concerts in July 2015 and for a subscription program of Neuburger, Bartók, and Beethoven in November 2016.

Renée Fleming In 2013 President Obama awarded Renée Fleming America’s highest honor for an individual artist, the National Medal of Arts. Winner of the 2013 Best Classical Vocal Grammy Award (for her album “Poèmes”), Ms. Fleming has sung at momentous occasions around the world, from the Nobel Peace Prize ceremony to performances in Beijing during the 2008 Olympic Games. In 2014 she became the first classical singer ever to perform “The Star-Spangled Banner” at the Super Bowl. In another historic first, she sang on the balcony of Buckingham Palace in the 2012 Diamond Jubilee Concert for Queen Elizabeth II. Featured in the 2009 televised inaugural concert for President Obama, she has performed for the United States Supreme Court, and in 2014 celebrated the 25th anniversary of the fall of the Berlin Wall in a televised concert at the Brandenburg Gate. In 2008 she became the first woman in the 125-year history of the Metropoli- tan Opera to headline an opening night gala. On New Year’s Eve 2014 Ms. Fleming appeared in the title role in the Metropolitan Opera’s new production of The Merry Widow. In April 2015 she made her Broadway theater debut in Living on Love, for which she earned a Drama League Award nomination. Ms. Fleming has appeared in virtually all of the world’s great opera houses and concert halls, and her recital schedule in recent years has taken her around the globe. Recipient of four Grammy Awards and fourteen Grammy nominations to date, she has recorded everything from complete operas and song recitals to jazz and indie-rock covers. Her recent opera DVDs include Strauss’s Arabella and Ariadne auf Naxos, Donizetti’s Lucrezia Borgia, and, in the Metropolitan Opera’s “Live in HD” series, Handel’s Rodelinda, Massenet’s Thaïs, and Rossini’s Armida. With a multimedia profile rare among contemporary opera singers, Renée Fleming has hosted both television and radio broadcasts, includ-

26 ing the Metropolitan Opera’s “Live in HD” series for movie theaters and television, and PBS’s “Live from Lincoln Center.” She was the subject of an HBO “Masterclass” documentary and has been a frequent guest on NPR’s “Prairie Home Companion.” In 2013 she collaborated with the John F. Kennedy Center for the Performing Arts to present “American Voices,” a concert and three-day festival celebrating the best Amer- ican singing in all genres; the festival became the subject of a “Great Performances” documentary on PBS. Ms. Fleming’s book The Inner Voice was published by Viking Penguin in 2004 and released in paperback by Penguin the following year. A champi- on of new music, she has performed works by Anders Hillborg, Henri Dutilleux, Brad Mehldau, André Previn, and Wayne Shorter. In 2010 she was named the ﬁrst- ever creative consultant at Lyric Opera of Chicago, where she curated the creation of this season’s world premiere of an opera based on the best-seller Bel Canto. She is an exclusive recording artist for Decca and Mercury Records (UK). Her jewelry is by Ann Ziff for Tamsen Z. Ms. Fleming is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation. Among her awards are the Fulbright Lifetime Achievement Medal, the Chevalier de la Légion d’Honneur, Germany’s Cross of the Order of Merit, Honorary Membership in the Royal Academy of Music, Sweden’s Polar Music Prize, and honorary doctorates from Duke University, Harvard Uni- versity, Carnegie Mellon University, the Eastman School of Music, and the Juilliard School. For more information, visit reneeﬂeming.com. Renée Fleming made her Tan- glewood and Boston Symphony debuts in July 1991, as Ilia in a concert performance of Mozart’s Idomeneo led by Seiji Ozawa. Her BSO subscription debut was in December 1998, in Haydn’s The Creation with James Levine conducting, since which time she has appeared numerous times with the orchestra in Boston and at Tanglewood, where she has also been heard in recital in Tanglewood’s Seiji Ozawa Hall and as Tatyana in a 2008 concert performance of Tchaikovsky’s Eugene Onegin with the Tanglewood Music Center Orchestra. This past Wednesday night in Seiji Ozawa Hall she performed music of Egon Wellesz and Albert Berg with the Emerson String Quartet, in a program marking the Emerson String Quartet’s fortieth anniversary. This coming season she sings one of her signature roles, the Marschallin, in concert performances of Der Rosenkavalier with Andris Nelsons and the Boston Symphony Orchestra at Symphony Hall in October, and in a new Robert Carsen production at the Metropolitan Opera in April.

TANGLEWOOD WEEK 2 GUEST ARTISTS 27 The Nathan and Marilyn Hayward Concert Sunday, July 17, 2016 The performance on Sunday afternoon is supported by a generous gift from BSO Overseer Nathan Hayward III and his wife, Marilyn. Tanglewood supporters since the 1980s, the Haywards have been longtime contributors to the Tanglewood Annual Fund. They are members of the Koussevitzky Society at the Encore level. In addition, they have supported the Galas and capital projects at Tanglewood. Nathan was elected to the BSO Board of Overseers in 2015 and is an active member of the Build- ings and Grounds Committee. The couple joined the BSO on its European tour in summer 2015. Nathan has spent all of his adult life as a leader in non-proﬁt governance. He currently serves as president of The 1916 Foundation and until recently was president of the Board of Trustees of Longwood Gardens in Kennett Square, PA. A committed conservationist, Nathan was one of the authors of Delaware’s Land Protection Act of 1989 and served for twenty years on the Open Space Council, during which time he helped steer the investment of more than $150 million in conservation projects throughout the ﬁrst state. Nathan now chairs the Cultural Resources and Compensa- tion committees of The Trustees of Reservations. Marilyn is a noted horticulturist who has spent thirty years planning and developing extensive gardens at their property in the Delaware Piedmont. Her career in human resources management has included service with the Penn Mutual Insurance Com- pany, Right Management Consultants, and First USA Bank, now part of JP Morgan Chase Credit Cards. She is chair of the Delaware Community Foundation and a key member of the boards of the Mt. Cuba Center near Hockessin, DE. The Haywards have two grown sons and a daughter-in-law. Nathan and Marilyn live in a restored historic house near Wilmington, DE, and a seasonal home in Stockbridge, MA. Stu Rosner

28 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Sunday, July 17, 2:30pm THE NATHAN AND MARILYN HAYWARD CONCERT

GUSTAVO GIMENO conducting

PROKOFIEV Symphony No. 1 in D, Opus 25, “Classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

RAVEL Piano Concerto in G Allegramente Adagio assai Presto YUJA WANG

{Intermission}

Program continues...

The performance of Prokoﬁev’s Symphony No. 1, “Classical,” is supported by a gift from Johanna and Leslie Garﬁeld. The performance of Gershwin’s “Rhapsody in Blue” is supported by a gift from Norman Atkin, M.D., and Joan Schwartzman. Stu Rosner

TANGLEWOOD WEEK 2 SUNDAY PROGRAM 29 GERSHWIN “Rhapsody in Blue” Ms. WANG

STRAVINSKY Suite from “The Firebird” (1919 version) Introduction—The Firebird and its Dance— Variation of the Firebird—The Princesses’ Round Dance (Khorovod)—Infernal Dance of King Kashchei—Lullaby—Finale

NOTES ON THE PROGRAM

Sergei Prokofiev (1891-1953) Symphony No. 1 in D, Opus 25 (“Classical Symphony”) First performance: April 21, 1918, Petrograd, Prokofiev cond. First BSO performance: January 28, 1927, Serge Koussevitzky cond. First Tanglewood performance: August 17, 1940, Koussevitzky cond. Most recent Tanglewood performance: August 23, 2013, Andris Poga cond. This symphony is officially Prokofiev’s Symphony No. 1 in D major, but the nickname “Classical” has taken hold so thoroughly that it is virtually never identified in the more formal way. Actually, it is not the first symphony Prokofiev ever composed; even before entering the St. Petersburg Conservatory he had had formal training from Reinhold Glière, a recent graduate in composition, on the advice of Taneyev, to whom the young Prokofiev had taken his earliest compositions when he was eleven years old. Glière had spent the summer of 1902 at the Prokofiev family home in Sontzovka and had led the boy (at his own insistence) through the stages of composing a symphony in G major. He entered the Conservatory two years later, his parents having been persuad- ed by the di rector Glazunov that his talent demanded that he be given the oppor tunity. He made his best marks at the Conservatory as a pianist, but his interest in composing grew ever stronger. During the summer of 1908, Prokofiev and his fellow student Nikolai Miaskov sky undertook the challenge of writing a symphony apiece during their summer vacations; they wrote regularly to each other, sending the themes they were using and criticizing each other’s work.

30 It took Prokofiev eight years to get around to writing another symphony—the first one whose paternity he would acknowledge publicly. Ironically, having compared his 1908 work with his modern idol Scriabin, Pro kofiev chose to write the new symphony after a distinctly older model: Haydn. The actual impetus came from Prokofiev’s desire to compose an entire symphony without the use of a piano, which had been his constant aid in composition from his childhood improvisations to that time. To that end, it occurred to him that it might be easier to employ Haydn’s style in that undertaking. And another thought intrigued him: if Haydn were alive at the time of his new composition (1916), how would he blend his own musical style with the newer elements of later music? Prokofiev de cided to answer the question for him. He began the symphony in the summer of 1916 with the Gavotte (the third movement) and wrote material for the other movements too. The following summer, near Petrograd, he discarded the original finale entirely and rewrote it, while pol- ishing the rest of the work. “And when it began to hang together, I renamed it the Classical Symphony. First because that was simpler. Second, out of mischief...and in the secret hope that in the end I would be the winner if the symphony really did prove to be a classic.” And so it has proved: no symphonic work of Prokofiev’s is performed more frequently or received with greater delight. Its directness and wit, its brevity, and its fusion of Haydnesque clarity with Prokofiev’s youthful grotesqueries have won champions for the Classical Symphony both in Russia and in the West. The opening coup d’archet and arpeggiation of the D major triad take us back immediately to the world of the Viennese classics, as also the size of the orchestra and the way the various instruments are handled. But Prokofiev’s sudden shift to C major only eleven measures into the piece tells us that the classical air is not simple imitation or pastiche, but a reworking of traditional musical gestures with witty modern twists. Still, the opening Allegro is in a straightforward sonata form, with a wonderful developmental climax in which the violins play the secondary theme metrically shifted by one beat. The Lar ghetto unfolds a simple rondo form, equally clear in its returns to the descending lyri cal theme in the violins. The Gavotte is absolutely quintessential Prokofiev in its blend of innocent dance with delightful, unexpected twists of harmony. Prokofiev re turned to this dance many years later and expanded it for use in his ballet score for Romeo and Juliet. The brilliant rushing finale, Molto vivace, maintains its high spirits without let-up from beginning to end, partly because Prokofiev tried, in writing this movement, to use nothing but major chords. This plan demands some lightning changes of key that would have surprised old Haydn, but they would no doubt have delighted him, too.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Stu Rosner

TANGLEWOOD WEEK 2 SUNDAY PROGRAM NOTES 31 Maurice Ravel (1875-1937) Piano Concerto in G First performance: January 14, 1932, Paris, Ravel cond. First BSO performance: April 22, 1932, Serge Koussevitzky cond., Jesús María Sanromá, soloist. First Tanglewood performance: August 6, 1950, Leonard Bernstein, cond. and soloist. Most recent Tanglewood performance: July 24, 2011, Emmanuel Krivine cond., Jean-Yves Thibaudet, soloist. At about the same time that Paul Wittgenstein, a concert pianist who had lost his right arm during World War I, asked Ravel if he would write a concerto for him, Ravel’s longtime interpreter Marguerite Long asked for a concerto for herself. Thus, although he had written no piano music for a dozen years, he found himself in 1930 writing two concertos more or less simultaneously. The concerto for the left hand turned out to be one of his most serious compositions, but the G major concerto, dedicated to and first performed by Madame Long, falls into the delightful category of high-quality diversion. Ravel’s favorite term of praise was divertissement de luxe, and he succeeded in producing just such a piece with this concerto. The motoric high jinks of the first movement are set off by the cracking of a whip, though they occasionally yield to lyric contemplation. The second movement is a total contrast, hushed and calm, with a tune widely re garded as one of the loveliest melodies Ravel ever wrote. The effort cost him dearly, and it may have been here that he first realized that his powers of composition were failing; they broke down completely in 1932, when the shock of an automobile collision brought on a nervous breakdown, and he found himself thereafter incapa- ble of sustained work. For this concerto, he found it necessary to write the Adagio assai one or two measures at a time. The final Presto brings back the rushing motor rhythms of the opening, and both movements now and then bear witness that Ravel had traveled in America and had become acquainted with jazz and recent popular music. He also met George Gershwin and told him that he thought highly of his Rhapsody in Blue; perhaps it is a reminiscence of that score that can be heard in some of the “blue” passages here and there.

STEVEN LEDBETTER

George Gershwin (1898-1937) “Rhapsody in Blue” First performance: New York, Aeolian Hall, February 12, 1924, Paul Whiteman and his Band, George Gershwin, soloist. First BSO and ﬁrst Tanglewood performance: August 6, 1959, Arthur Fiedler, cond., Earl Wild, soloist. Most recent Tanglewood performance by the BSO: July 26, 1997, André Previn cond. and soloist (though Seiji Ozawa conducted the BSO on July 13, 2002, in an adaptation of the score by Marcus Roberts, with the latter as piano soloist, Roland Guerin, bass, and Jason Marsalis, drums). Most recent Tanglewood performance: August 24, 2012, Boston Pops Orchestra, Keith Lockhart, cond., Ilya Yakushev, soloist. Sometime in the fall of 1923, the bandleader Paul Whiteman told the young songwriter and pianist George Gershwin that he wanted to produce a concert celebrating the rapprochement between symphonic music and jazz, and that he expected a contribution from Gershwin—who promptly forgot about the conversation, only to be suddenly reminded on January 3, 1924, when his brother (and lyricist) Ira came across an announcement in the New York Herald Tribune for Whiteman’s concert,“An Experiment in Modern Music” to be given in Aeolian Hall the following month, on February 12. According to the

32 paper, George would produce a “jazz concerto” for the event. Whiteman had been the conductor of the 1922 George White’s Scandals, for which Gershwin had written a one-act opera entitled Blue Monday, which was a flop with the audience (the piece being too serious for a frivolous revue like the Scandals) but had made a deep impression on Whiteman, who regarded Gershwin as the man of the hour. Whiteman’s concert would enlist a committee of judges to explore the question, “What is American music?” (Typically, none of the judges was American-born: they included Sergei Rachmaninoff, Jascha Heifetz, Efrem Zimbalist, and Alma Gluck.) Given the shortness of time, and Gershwin’s limited experience in scoring his works, Whiteman offered the services of his arranger, Ferde Grofé, to orchestrate the new work as it was being composed. At the time, Gershwin was busily putting the finishing touches on a show called Sweet Little Devil, which was due to open in New York on January 21. The Rhapsody took shape in his mind as he was traveling to Boston for the show’s out-of-town tryout: “I had already done some work on the rhapsody. It was on the train, with its steely rhythms, its rattle-ty bang that is often so stimulating to a composer…. And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end.… I heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.” Later, at a party in New York, Gershwin was improvising at the piano when he heard himself “playing a theme that must have been haunting me inside, seeking outlet. [It] oozed out of my fingers.” Ira, who was becoming not only Gershwin’s closest collaborator on lyrics, but also his best listener, encouraged him to use this theme as the lyrical climax of the work, a real contrast to the jazziness of the opening. Though Whiteman had announced a “concerto,” Gershwin decided that it would be better to follow the freer form of the rhapsody. The score plays with the ambivalence between major and minor, with choices of notes called “blue” from their use in the traditional singing style of the blues, which hover between major and minor. The prevalence of “blue” notes and the rhapsodic ground plan of the work suggested to Ira the title that George gratefully accepted: Rhapsody in Blue. The famous opening clarinet glissando predated the rest of the composition. White- man’s clarinetist Ross Gorman had developed the trick of playing a two-octave upward glissando, something that had previously been believed impossible. Gershwin had attempted to notate it in one of his sketchbooks, and early on he thought of it as the perfect opening for the work. Also, because time was so short, he left a number of the solo piano spots blank, to be improvised in the performance (Whiteman’s score simply said “wait for nod.”) Whiteman’s Aeolian Hall concert was billed as one of the major new musical events of the season, but the event was much too long, and as it dragged on and on it began to appear that Whiteman’s “Experiment in Modern Music” was a bust. Rhapsody in Blue came next to last on the program, when the audience was more than a little restive. But Ross Gorman’s clarinet wail to begin the piece electrified the audience, whose response at the end was rapturous. Repeated frequently that spring and committed to disc in June, the Rhapsody has since become as familiar to the general public as any work in the repertoire, as well as respected by jazz and classical musicians alike. The composer himself, when asked a decade later whether it could be improved, replied, “I don’t know; people seemed to like it the way it was, so I left it that way.”

STEVEN LEDBETTER

TANGLEWOOD WEEK 2 SUNDAY PROGRAM NOTES 33 Igor Stravinsky (1882-1971) Suite from “The Firebird” (1919 version)

First performance of the complete ballet: June 25, 1910, Paris, Gabriel Pierné cond. First BSO performance of Stravinsky’s 1911 suite: October 1919, Pierre Monteux cond. First BSO performance of the 1919 suite: March 1935, Stravinsky cond. First Tanglewood performance of music from “The Firebird”: August 8, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: August 7, 2012, Stéphane Denève cond. (as part of Tanglewood on Parade) In 1910, Igor Stravinsky was a relatively unknown twenty-eight-year-old with only a couple of modestly successful orchestral pieces (Fireworks and Scherzo fantastique) to distinguish himself from myriad other young Russian composers. So when Sergei Diaghilev, founder of the Ballets Russes, needed music for his new ballet, Firebird, based on a Russian folk story, he had planned to commission a much more experienced composer. However, since Rimsky- Korsakov, Diaghilev’s first choice and Stravinsky’s teacher, had died the year before, and Liadov, an older ex-pupil of Rimsky-Korsakov, couldn’t meet the timetable, Diaghilev took a chance on the promising and expeditious Stravinsky—a portentous decision that would prove wildly successful for both men and, over the following thirteen years, change both music and dance forever through a succession of works that continued directly with Stravinsky’s Petrushka in 1911 and The Rite of Spring in 1913. The Firebird tells the story of Prince Ivan, who, in pursuit of the Firebird (a magical creature, half-woman, half-bird), finds himself in the kingdom of Kashchei, an evil sorcerer who keeps thirteen beautiful princesses captive and turns trespassers to stone. After Ivan catches the Firebird, he grants her freedom in exchange for one of her magic feathers and a promise of help in a time of need. Having seen the princesses and fallen in love with the most beautiful one, Ivan confronts Kashchei and asks for permission to marry her. Kashchei becomes angry and sends his magical creatures after Ivan, who in desperation calls on the Firebird. With her magical song, the Firebird causes Kashchei to dance wildly and then fall asleep. While he slumbers, she tells Ivan the secret of ending Kashchei’s immortality: Ivan must find and destroy Kashchei’s soul, hidden safely away in a secret coffin. Having done so, Ivan sets the princesses and magical creatures free, and they all have a final, cele- bratory dance. The score is remarkable in its craftsmanship and effectiveness, even if not always in its content. Later in his career, Stravinsky often spoke disparagingly about Firebird and its lack of originality, but it’s difficult not to see this as a revolutionary composer looking back and unfairly comparing a piece composed when he was young, and following mostly in his predecessor’s footsteps, with his more mature work. Certainly there are identifiable similarities between Firebird and the music of Rimsky-Korsakov— most notably the strikingly colorful orchestration and the use of diatonic and chromatic motifs to separate human and supernatural themes, respectively. There is also a Tchaikovskian feel about the Princesses’ Round and the Finale, as well as in the sense of dramatic flow throughout the ballet. But Firebird could never be confused with the work of either of these earlier composers, and the germs of groundbreak- ing ideas that came to fruition in Stravinsky’s later work are already present here. The cascading violin and viola harmonics in the Introduction point to a proclivity for eliciting unusual sounds from familiar instruments that would permeate Stravin- sky’s music throughout his long career; and the rhythmic fluctuation in the 7/4 finale foreshadows the composer’s extraordinary innovation in The Rite of Spring. The entire

34 piece is full of these unmistakable snippets of Stravinskyan ingenuity, and Diaghilev, ballet audiences, and the entire musical world recognized this and took note. The version of Firebird heard tonight is a concert suite created by the composer in 1919; at about twenty-two minutes long, it contains about half of the original ballet music. Of the three different suites drawn by Stravinsky from the complete score (1911, 1919, and 1945), the 1919 version is by far the most popular and frequently performed.

JAY GOODWIN New York-based annotator Jay Goodwin is managing editor at the Metropolitan Opera. He has written for the Boston Symphony Orchestra, St. Louis Symphony, Australian Chamber Orchestra, Juilliard School, and Carnegie Hall and was the 2009 Tanglewood Music Center Publications Fellow. Guest Artists

Gustavo Gimeno Conductor Gustavo Gimeno makes his Boston Symphony Orchestra and Tanglewood debuts with this concert. Since the 2015-16 season, Mr. Gimeno has been music director of the Orchestre Philharmonique du Luxembourg. In his second season, he continues this partnership with a focus on the great orchestral literature including Mahler’s Symphony No. 4, Beethoven’s Symphony No. 7, Ravel’s Daphnis and Chloé, Stravinsky’s Le Sacre du printemps, and new commissions of works by Mark-Anthony Turnage and Francisco Coll, as well as the initiation of a recording partnership with Pentatone. Aside from his commitments in Luxembourg, Gustavo Gimeno has collaborated with a select list of orchestras including the Munich Philharmonic, Cleveland Orchestra, City of Birmingham Symphony Or- chestra, Orchestre National de France, Rotterdam Philharmonic, and the Phil- harmonia Zurich. In 2015 he led the Amsterdam Royal Concertgebouw Orches- tra on tour to Asia. In addition to this afternoon’s Boston Symphony debut, the 2016-17 season brings debuts with the Chicago Symphony Orchestra, the National Symphony Orchestra in Washington, D.C., Tokyo’s NHK Symphony Orchestra, and the Orchestra of the Academy of Santa Cecilia. He will also appear twice in Vienna, with the Orches- tre Philharmonique du Luxembourg at the Wiener Konzerthaus and with the Vienna Symphony at the Musikverein. Many of the works that have been at the center of Gus- tavo Gimeno’s programming in Luxembourg are also the focus for future concerts: Bruckner’s Symphony No. 1 upon his return to the Munich Philharmonic, Schumann’s Symphony No. 1 with the Royal Concertgebouw and City of Birmingham Symphony Orchestra, Mahler’s Symphony No. 1 with the Philharmonia Orchestra at the Royal Fes- tival Hall in London, and Shostakovich’s Symphony No. 1 with the Sydney Symphony Orchestra. In 2015, Gustavo Gimeno made his opera debut conducting Bellini’s Norma at the Opera House in Valencia. In March 2017 he will conduct his ﬁrst opera production in Luxembourg, Verdi’s Simon Boccanegra. Born in Valencia, Gustavo Gimeno began his international conducting career in 2012, when at that time he was a member of the Amsterdam Royal Concertgebouw Orchestra, as an assistant to Mariss Jansons. Other mentors who provided Mr. Gimeno with signiﬁcant experience include Bernard Haitink and Claudio Abbado. Visit gustavogimeno.com for further information.

TANGLEWOOD WEEK 2 GUEST ARTISTS 35 Yuja Wang During the 2015-16 season, Yuja Wang joined Michael Tilson Thomas and the San Francisco Symphony on their European festivals tour, performing Beethoven and Bartók at London’s BBC Proms, the Edinburgh, Rheingau, Lucerne, and Enes- cu festivals, and in Amsterdam, Luxembourg, and Paris. She played Messiaen’s Turangalîla-symphonie with the New York Philharmonic under Esa-Pekka Salonen and with the Orquesta Sinfónica Simón Bolívar under Gustavo Dudamel both in Caracas and throughout Europe, and performed Mozart’s Jeunehomme Concerto for her Vienna Philharmonic debut under Valery Gergiev and in concerts with the New York, Los Angeles, and Israel Philharmonic orchestras under Charles Dutoit, Lionel Bringuier, and Zubin Mehta, respectively. A U.S. tour with Mikhail Pletnev and the Russian National Symphony featured Mozart’s Jeunehomme and Tchaikovsky’s Second Concerto, the latter reprised with the Moscow Philhar- monic and with the Royal Concertgebouw Orchestra in Amsterdam and Asia. Recital performances took her to France, Holland, and Germany, and, with violinist Leonidas Kavakos, to the Edinburgh Festival for a complete Brahms sonata cycle. Since her 2003 European concerto debut and her North American concerto debut two years later, Yuja Wang has partnered with nearly all of the world’s foremost orchestras. She has performed at Carnegie Hall every season since her celebrated 2001 recital debut and frequently makes solo appearances throughout Asia, Europe, and North America. As a chamber musician, she graces summer festivals worldwide, making regular appearances at Switzerland’s Verbier Festival. An exclusive Deutsche Grammophon artist since 2009, Yuja Wang has released three solo albums and two concerto recordings to date. Her debut release, “Sonatas & Etudes,” was nominated for a Grammy, won an International Piano Award, and saw her named Gramophone’s Young Artist of the Year. With her solo title “Transformation,” she took the 2011 Echo Klassik Award for Young Artist of the Year, while her recording of Rachmaninoff concertos with Abbado and the Mahler Chamber Orchestra received a Grammy nomination. Next followed “Fan- tasia,” a collection of solo encores and live accounts of Prokoﬁev and Rachmaninoff with Dudamel and the Orquesta Sinfónica Simón Bolívar. In 2014, Ms. Wang joined Leonidas Kavakos to record the complete Brahms violin sonatas for Decca; she also appears on the award-winning soundtrack of the 2013 motion picture Summer in Febru- ary. Her Deutsche Grammophon recording “Yuja Wang: Ravel” with Bringuier and the Tonhalle Orchestra Zurich was released in 2015. Born in Beijing in 1987, Yuja Wang began piano lessons at age six and went on to study with Ling Yuan and Zhou Guan- gren at Beijing’s Central Conservatory of Music. She joined the Morningside Music summer program at Calgary’s Mount Royal College in 1999, and in 2001 embarked on two years of study with Hung-Kuan Chen at Mount Royal College Conservatory. Fol- lowing studies with John Perry at the Aspen Music Festival and a concerto competition win, she became a student of Gary Graffman at Philadelphia’s Curtis Institute of Music, graduating in 2008. She is a recipient of the Gilmore Young Artist Award and the prestigious Avery Fisher Career Grant. Yuja Wang made her BSO debut in March 2007 with Tchaikovsky’s Piano Concerto No. 1, subsequently appearing with the orchestra at Tanglewood in August 2011 in Rachmaninoff’s Rhapsody on a Theme of Paganini, and at Symphony Hall in March 2014 playing Prokoﬁev’s Piano Concerto No. 2.

36 Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops, and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne Brooke • Cynthia and Oliver Curme • Michael L. Gordon • Barbara and Amos Hostetter • Dorothy and Charlie Jenkins • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis

Society Giving at Tanglewood The following list recognizes gifts of $3,000 or more made since September 1, 2015 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2015-2016 season. For further information on becoming a Society member, please contact Barbara Hanson, Senior Leadership Gifts Ofﬁcer, at 617-638-9261.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Virtuoso $50,000 to $99,999

Linda J.L. Becker • Roberta and George‡ Berry • Bonnie and Terry Burman • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Michael L. Gordon • Dorothy and Charlie Jenkins • Joyce Linde • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Mr. James E. Pollin • Carol and Joe Reich • Sue Rothenberg • Caroline and James Taylor • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Nathan and Marilyn Hayward • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Stephen B. Kay and Lisbeth L. Tarlow • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • Claudio and Penny Pincus • Ronald and Karen Rettner • Carol and Irv Smokler • Norma and Jerry Strassler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Phyllis and Paul Berz • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Carol B. Grossman • The Edward Handelman Fund • Carol and George Jacobstein • Leslie and Stephen Jerome • Mr. and Mrs. Henry A. Leander • Jay and Shirley Marks • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Marillyn Zacharis

TANGLEWOOD WEEK 2 SOCIETY GIVING AT TANGLEWOOD 37 Patron $10,000 to $19,999

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Jane Braus • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Martha and Todd Golub • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Susie and Stuart Hirshﬁeld • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Ms. Patricia Kennelly and Mr. Edward F. Keon • Lizbeth and George Krupp • Norma and Sol D. Kugler • Mr. and Mrs. Roger Landay • Shirley and William Lehman • Elaine ‡ and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Mr. and Mrs. Gerard O’Halloran • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Anne and Ernest ‡ Schnesel • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Rita and Harvey Simon • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jim and Nancy Bildner • Hildi and Walter Black • Brad and Terrie Bloom • Judith and Stewart Colton • Eitan and Malka Evan • Esta and Kenneth Friedman • Leslie and Joanna Garﬁeld • Richard Holland and Cathy Birkhahn • Arlene and Jerome Levine • Geri and Roy Liemer • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler and Mr. Jeffrey Cohen • Malcolm and BJ Salter • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Marcia and Albert Schmier • JoAnne and Joel Shapiro • Lynn and Ken Stark • Aso O. Tavitian • Jerry and Roger Tilles • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 to $7,499

Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. R. Martin Chavez • Jim Chervenak • Carol and Randy Collord • Mrs. Carol P. Côme • Jill K. Conway • Ann Denburg Cummis • Dr. and Mrs. Harold Deutsch • Gigi Douglas and David Fehr • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Miss Diana Engelhorn • Marie V. Feder • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Lonnie and Jeffrey Garber • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Sondra and Sy Goldman • Joe and Perry Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Jud and Roz Gostin • Mr. Malcolm Griggs • Mr. Harold Grinspoon and Ms. Diane Troderman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mrs. Barbara C. Haynes •

38 Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles ‡ Hoffman • Nancy and Walter Howell • Dr. and Mrs. Richard M. Hunt • Marty and Judy Isserlis • Stephen and Michele Jackman • Liz and Alan Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. and Mrs. Carleton F. Kilmer • Robert and Luise ‡ Kleinberg • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Ira Levy, Lana Masor and Juliette Freedman • Marje Lieberman and Sam Seager • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Ms. Selma Rothstein • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. and Mrs. John Schwebel • Mr. Marvin Seline • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Dorothy and Gerry Swimmer • Jean C. Tempel • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • The Ushers and Programmers Fund • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Mr. and Mrs. Bernard Wolfson • Mr. and Mrs. Allan Yarkin • Erika and Eugene ‡ Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3) Bernstein Society $3,000 to $4,999

Arthur Appelstein and Lorraine Becker • Mr. and Mrs. David L. Auerbach • Benjamin and Leah Barber • Ms. Shirley B. Barnes • Dr. David Bear and Dr. Laurie Hammer Bear • Michael Beck and Beau Bufﬁer • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterﬁeld • Ms. Patricia Callahan • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Emilie and Clark Downs • Terry and Mel Drucker • Ms. Linda Dulye • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Keith R. Edwards • Eric and Margot Egan • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott • Mr. and Mrs. Jim Fingeroth • Dr. and Mrs. Steve Finn • Betty and Jack ‡ Fontaine • Mr. and Mrs. Michael Friedman • Mrs. Athena G. Garivaltis • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Andrew and Stephanie Goldfarb • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Ricardo and Ana Julia Hausmann • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Mr. and Mrs. James Horwitz • In memory of D.M. Delinferni • Richard and Marianne Jaffe • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Nedra Kalish • Dr. and Mrs. Stephen Kulvin • Mr. Arthur J. Levey and Ms. Rocio Gell • Mr. Jeremy Levine • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Mr. David Lloyd and Ms. Meg Mortimer • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Gloria and Leonard ‡ Luria • Jb and Evan Mallah • Dr. and Mrs. Malcolm Mazow • Terence McInerney • Soo Sung and Robert Merli •

TANGLEWOOD WEEK 2 SOCIETY GIVING AT TANGLEWOOD 39 Mr. and Mrs. Jonathan Michaeli • Michael and Annette Miller • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Dr. William S. Packard and Dr. Charles L. Ihlenfeld • Donald and Laurie Peck • Lee Perlman and Linda Riefberg • Mr. Robert Pollin • Mr. William Racolin • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mrs. Bonnie L. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Mr. and Mrs. Steve Ryan • Dr. and Mrs. David Schottenfeld • Heidi and Robert Schwartz • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Mr. and Mrs. Theodore R. Shiffman • Linda and Marc Silver, in loving memory of Marion, Sidney and Daniel Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Ms. Anne Smith • Elaine Sollar and Edwin R. Eisen • Suzanne and Robert Steinberg • Shirley and Al Steiner • Mr. and Mrs. Edward Streim • Ingrid and Richard Taylor • John Lowell Thorndike • Diana O. Tottenham • Mr. John Tremblay and Mrs. Eileen Quinn • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Donald Usher and William E. Briggs • Kae and Ben Wallace • William Wallace • Mr. and Mrs. Ronald A. Walter • Ms. Gayllis R. Ward and Mr. James B. Clemence • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Susan Ellen Wolf • Mr. and Mrs. Michael Zaccaro • Anonymous (2)

July at Tanglewood

Friday, July 1, 8pm Saturday, July 9, 8pm BOSTON POPS ESPLANADE ORCHESTRA BSO—JACQUES LACOMBE, conductor KEITH LOCKHART, conductor NADINE SIERRA, JEAN-FRANCIS JERRY GARCIA SYMPHONIC CELEBRA TION MONVOISIN, and STEPHEN POWELL, featuring WARREN HAYNES vocal soloists TANGLEWOOD FESTIVAL CHORUS Saturday, July 2, 7pm NORWAY POND JUNIOR MINSTRELS BOB DY LAN DEBUSSY Prelude to The Afternoon of a Faun with MAVIS STAPLES RAVEL Daphnis and Chloé, Suite No. 2 ORFF Carmina burana (sung in Latin with Sunday, July 3, 8pm English supertitles) Monday, July 4, 8pm JAMES TAYLOR AND HIS ALL-STAR BAND Sunday, July 10, 2:30pm BOSTON POPS ORCHESTRA Tuesday, July 5, 8pm KEITH LOCKHART, conductor SEIJI OZAWA INTERNATIONAL SETH MACFARLANE, soloist ACADEMY SWITZERLAND TANGLEWOOD MUSIC CENTER FELLOWS Sunday, July 10, 8pm Music for string quartet and string ensemble TMC ORCHESTRA—JACQUES LACOMBE and TMC Fellows NUNO COELHO SILVA Wednesday, July 6, 7pm and CHRISTIAN REIF, conductors MEMBERS OF THE BOSTON POPS BRASS Music of Bernstein, Schuman, Rimsky-Korsakov, & PERCUSSION SECTIONS and Tchaikovsky BOSTON CRUSADERS; PHANTOM REGIMENT; BLUECOATS; THE CADETS Tuesday, July 12, 8pm Tanglewood Brass Spectacular! EMERSON STRING QUARTET Haydn’s complete Opus 76 string quartets Thursday, July 7, 8pm, Ozawa Hall TEMBEMBE ENSAMBLE CONTINUO Wednesday, July 13, 8pm HESPÈRION XXI EMERSON STRING QUARTET JORDI SAVALL, director and viola da gamba RENÉE FLEMING, soprano “Folías Antiguas & Criollas: From the Music of Brahms, Wellesz, and Berg Ancient World to the New World” Thursday, July 14, 8pm Friday, July 8, 6pm (Prelude Concert) THE KNIGHTS MEMBERS OF THE BSO CHRISTINA COURTIN, vocalist Music of Beethoven and Ravel GABRIEL KAHANE, electric guitar, piano, and voice Friday, July 8, 8pm “The Times They Are A-Changin’ ” Opening Night at Tanglewood Music of Haydn, Kahane, Schubert, Dylan, BSO—JACQUES LACOMBE, conductor and others JOSHUA BELL, violin Friday, July 15, 6pm (Prelude Concert) RAVEL Alborada del gracioso SAINT-SAËNS Violin Concerto No. 3 MEMBERS OF THE BSO PROKOFIEV Symphony No. 5 Music of Mozart and Prokofiev Friday, July 15, 8pm Saturday, July 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—PINCHAS ZUKERMAN, conductor and violin BSO program of Saturday, July 9 ALL-MOZART PROGRAM Saturday, July 9, 2:30pm Symphony No. 25; Violin Concerto from TANGLEWOOD FAMILY CONCERT Haffner Serenade in D, K.250; Symphony No. 39 (Pre-concert activities begin at 12:30pm) Saturday, July 16, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 17

Saturday, July 16, 8pm Sunday, July 24, 2:30pm BSO—CHRISTOPH VON DOHNÁNYI, BSO—JUANJO MENA, conductor conductor VERONIKA EBERLE, violin RENÉE FLEMING, soprano GINASTERAVariaciones concertantes IVES The Unanswered Question MOZART Violin Concerto No. 4 in D, K.218 STRAUSS Four Last Songs BEETHOVEN Symphony No. 6, Pastoral TCHAIKOVSKY Symphony No. 6, Pathétique Wednesday, July 27, 8pm Sunday, July 17, 2:30pm CHANTICLEER BSO—GUSTAVO GIMENO, conductor “Over the Moon” YUJA WANG, piano A lunar-inspired program ranging from PROKOFIEV Symphony No. 1, Classical Renaissance music to contemporary RAVEL Piano Concerto in G composers, jazz standards, and more. GERSHWIN Rhapsody in Blue Thursday, July 28 8pm STRAVINSKY Suite from The Firebird (1919 version) DANISH STRING QUARTET Music of Nørgard, Mendelssohn, and Monday, July 18, 8pm Beethoven

TMC ORCHESTRA—CHRISTOPH VON Friday, July 29, 6pm, Ozawa Hall DOHNÁNYI and TMC Fellows CHRISTIAN (Prelude Concert) REIF and NUNO COELHO SILVA, conductors MEMBERS OF THE BSO RICHARD SEBRING, horn JONATHAN BISS, piano Music of Wagner, Strauss, and Beethoven PAUL LEWIS, piano Music of Schubert and Mozart Wednesday, July 20, 8pm FRANÇOIS LELEUX, oboe Friday, July 29, 8pm, Shed LISA BATIASHVILI, violin BSO—ANDRIS NELSONS, conductor KIM KASHKASHIAN, viola JONATHAN BISS, piano LYNN HARRELL, cello MOZART Piano Concerto No. 27 in B-flat, EMANUEL AX, piano K.595 Music of Saint-Saëns, Mozart, Debussy, and MAHLER Symphony No. 9 Britten Saturday, July 30, 10:30am Friday, July 22, 6pm Hall (Prelude Concert) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) MEMBERS OF THE BSO BSO program of Saturday, July 30 Music of Françaix, Ligeti, and Villa-Lobos Saturday, July 30, 8pm, Shed Friday, July 22, 8pm BSO—ANDRIS NELSONS, conductor BSO—SIR ANDREW DAVIS, conductor AUGUSTIN HADELICH, violin LISA BATIASHVILI, violin CORIGLIANO Fantasia on an Ostinato VAUGHAN WILLIAMS Fantasia on a Theme SIBELIUS Violin Concerto by Thomas Tallis BEETHOVEN Symphony No. 7 DVORÁKˇ Violin Concerto SIBELIUS Symphony No. 5 Sunday, July 31, 2:30pm The Leonard Bernstein Memorial Concert Saturday, July 23, 10:30am TMC ORCHESTRA—ANDRIS NELSONS, Open Rehearsal (Pre-Rehearsal Talk, 9:30am) conductor BSO program of Sunday, July 24 PAUL LEWIS, piano Saturday, July 23, 8pm ALL-BRAHMS PROGRAM Piano Concerto No. 1; Symphony No. 1 BSO—JUANJO MENA, conductor GARRICK OHLSSON, piano Sunday, July 31, 8pm RAQUEL LOJENDIO, soprano CHICK COREA TRIO TCHAIKOVSKY Piano Concerto No. 1 featuring CHRISTIAN MCBRIDE and FALLA The Three-cornered Hat (complete BRIAN BLADE ballet score) 75th Birthday Celebration

Programs and artists subject to change. 2016 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge e Admission free, but restricted to ticket holders for that evening’s orchestra concert

Monday, June 27, 8pm Saturday, July 16, 6pm e John Harbison, conductor Prelude Concert Bach Cantatas 163, 116, 187, and 57 Sunday, July 17, 10am Friday, July 1, 10am and 2:30pm Chamber Music Saturday, July 2, 2:30pm Monday, July 18, 6pm String Quartet Marathon Prelude Concert (TMC Vocal Fellows) Sunday, July 3, 10am Monday, July 18, 8pm * Brass, Winds, and Percussion Extravaganza The Daniel Freed and Shirlee Cohen Freed Sunday, July 3, 2:30pm Memorial Concert TMC Opening Exercises TMC ORCHESTRA—CHRISTOPH VON DOHNÁNYI and TMC Fellows NUNO Tuesday, July 5, 8pm COELHO and CHRISTIAN REIF, conductors Seiji Ozawa International Academy Switzerland RICHARD SEBRING, horn TMC Fellows Music of WAGNER, STRAUSS, and Music for string quartet and string ensemble BEETHOVEN Wednesday, July 6, 8pm Saturday, July 23, 6pm e Vocal Concert Prelude Concert

Saturday, July 9, 6pm e Saturday, July 30, 6pm e Prelude Concert Prelude Concert Sunday, July 10, 10am Sunday, July 31, 10am Chamber Music Chamber Music Sunday, July 10, 8pm * Sunday, July 31, Shed * The Phyllis and Lee Coffey Memorial Concert The Leonard Bernstein Memorial Concert TMC ORCHESTRA—JACQUES LACOMBE TMC ORCHESTRA—ANDRIS NELSONS, and TMC Fellows NUNO COELHO and conductor CHRISTIAN REIF, conductors PAUL LEWIS, piano Music of BERNSTEIN, SCHUMAN, ALL-BRAHMS PROGRAM RIMSKY-KORSAKOV, and TCHAIKOVSKY Piano Concerto No. 1; Symphony No. 1

TMC Orchestra Concerts in Ozawa Hall (July 10, 18, 25; August 8, 15), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/25 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $12. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS UP TO $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concert tickets may be purchased on the day of the concert at the Ozawa Box Office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Monday, August 1, 8pm Thursday, July 21—Monday, July 25 Vocal Concert FESTIVAL OF CONTEMPORARY MUSIC Wolf’s Italienisches Liederbuch (complete) The 2016 Festival of Contemporary Music Tuesday, August 2 * is dedicated to the memory of Steven Stucky TANGLEWOOD ON PARADE (1949-2016), its creator and curator. 2:30pm: TMC Cello Ensemble Thursday, July 21, 8pm 3:30pm: TMC Piano Concert Stucky’s Dialoghi for solo cello, performed 5pm: TMC Vocal Concert (“Sing, America!”) in memory of Steven Stucky by TMC faculty 7:30pm: TMC Brass Fanfares (Shed) member Norman Fischer 8pm: Gala Concert (Shed) FCM CHAMBER ORCHESTRA The Gregory E. Bulger Foundation Concert STEFAN ASBURY, NUNO COELHO, TMCO, BSO and BOSTON POPS DAVID FULMER, and CHRISTIAN REIF, ORCHESTRA conductors STÉPHANE DENÈVE, GIANCARLO Music of Stucky, Lutosławski, Salonen, GUERRERO, and JOHN WILLIAMS, and Lindberg conductors Friday, July 22, 2:30pm Music of RAVEL, WILLIAMS, TCHAIKOVSKY, THE NEW FROMM PLAYERS and others Chamber music of Phibbs (U.S. premiere), Fireworks to follow the concert Abrahamsen, Currier, and Dennehy Saturday, August 6, 6pm e Saturday, July 23, 2:30pm Prelude Concert TMC FELLOWS Sunday, August 7, 10am STEPHEN DRURY, conductor Chamber Music Chamber music of Ogonek, White, Jalbert, Gee (world premiere; TMC commission), Monday, August 8, 8pm * Crockett, and Levering TMC ORCHESTRA—TMC Fellows NUNO COELHO and CHRISTIAN REIF, conductors Sunday, July 24, 10am NICHOLAS MUNI, director (Weill) TMC FELLOWS TMC VOCAL FELLOWS (Weill, Shostakovich) NUNO COELHO, DAVID FULMER, and DAWN UPSHAW, soprano (Shostakovich) CHRISTIAN REIF, conductors SANFORD SYLVAN, baritone (Shostakovich) Chamber music of Hillborg, Dean, Harvey, Boulez, Donatoni, and Meltzer WEILL The Seven Deadly Sins (world premiere) SHOSTAKOVICH Symphony No. 14 Monday, July 25, 6pm Tuesday, August 9, 8pm Global Musician Workshop Project Prelude Concert Michael Block, director LUCY SHELTON, soprano TMC VOCAL FELLOWS Thursday, August 11, 8pm Messiaen’s Harawi Vocal Concert Monday, July 25, 8pm * Saturday, August 13, 6pm e The Margaret Lee Crofts Concert Prelude Concert TMC ORCHESTRA—STEFAN ASBURY, Sunday, August 14, 10am conductor Chamber Music LORELEI ENSEMBLE, BETH WILLER, artistic director Monday, August 15, 2:30pm, Chamber Music Hall BENJAMIN Dream of the Song (U.S. Piece-a-Day Project premiere; BSO commission) TMC Composition Fellows MESSIAEN Turangalîla-symphonie Monday, August 15, 8pm * The Festival of Contemporary Music has been TMC ORCHESTRA—CHARLES DUTOIT, endowed in perpetuity by the generosity of Dr. conductor Raymond H. and Mrs. Hannah H. Schneider, GIL SHAHAM, violin with additional support from the Aaron Music of KODÁLY, TCHAIKOVSKY, and Copland Fund for Music, the Fromm Music STRAVINSKY Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

Programs and artists subject to change. For complete program details, please visit tanglewood.org.

Boston University Tanglewood Institute Boston University Tanglewood Institute (BUTI) is recognized internationally as a premier summer training program for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer program to complement the existing offerings of the BSO’s Tanglewood Music Center. Today, fifty years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 young instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have combined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, fifteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2016 BUTI Concert Schedule (50th Anniversary Season) (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 16, 2:30pm, Lawrence Loh conducts Wagner’s Overture to Die Meistersinger, Brahms’s Variations on a Theme by Haydn, and Shostakovich’s Symphony No. 5. Saturday, July 30, 2:30pm, Paul Haas conducts Mahler’s Symphony No. 6. Saturday, August 13, 2:30pm, Ken-David Masur conducts Enescu’s Romanian Rhapsody No. 1, Gershwin’s Rhapsody in Blue, and Brahms’s Symphony No. 3.

WIND ENSEMBLE PROGRAMS: Sunday, July 17, 2:30pm, David J. Martins conducts Dahl, Dukas, Harbison, McTee, Nelson, Newman, and Salfelder. Sunday, July 31, 2:30pm, H. Robert Reynolds conducts Bates, Etezady, Grainger, Gryc (featuring David Krauss, trumpet), Holst, Stamp, Strauss, and Wagner.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Katie Woolf conducts choral works by Bernstein, Dello Joio, Haydn, O’Regan, and Verdi.

50TH ANNIVERSARY CONCERT: Saturday, August 6, 2:30pm, 2016 Young Artists, faculty, and alumni perform choral, orchestral, and chamber works by Andres, Bernstein, Brahms, Handel, Kodály, Muhly, O’Regan, Ticheli, and Wagner. Emceed by Emmy Award nominee Lauren Ambrose, with conductors Ken-David Masur, Ann Howard Jones, and Katie Woolf.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. 50th Anniversary Concert tickets may be purchased for $20 each at the door of Seiji Ozawa Hall or online at bso.org. Young Artists Wind Ensemble concerts are not ticketed and are open to the public. For a full listing of events, visit bu.edu/tanglewood. The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

Two and One Half Million

Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts •

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane •

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

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

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

William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (7)

‡ Deceased Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2016 season. Boldface denotes support of $3,000 or more, and italics denote support of $1,500-$2,999. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager at 413-637-5174 or [email protected].

Accounting/Tax Services Mark Friedman, CPA • Joseph E. Green, CPA • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company Advertising/Marketing/Consulting Lauri Aibel • Barry L. Beyer • Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering ARTLIFEdesign • edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. Arts, Crafts, Antiques Elise Abrams Antiques • Berkshire Paint and Sip • Joanie Ciolfi Paintings • Colorful Stitches Fine Yarn • Diana Felber Gallery • History of Toys Gallery • Hoadley Gallery • Schantz Galleries Contemporary Glass Automotive Autobahn Service • Balise Lexus • Biener Audi • Donovan Motorcar Service & Timeless Auto Sales • Flynn VW Audi BMW • Haddad Dealerships • Johnson Ford Lincoln Aviation Lyon Aviation, Inc. Banking Adams Community Bank • Berkshire Bank • Greylock Federal Credit Union • Lee Bank • MountainOne Financial • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • Dresser-Hull Company • Ed Herrington, Inc. Building/Contracting Allegrone Companies • Louis Boxer Builder, LLC • Decumanus Green Design/Build, Inc. • Great River Construction Co. Inc • Luczynski Brothers Building • J.H. Maxymillian, Inc. • David J. Tierney, Jr., Inc. • Peter D. Whitehead Builder, LLC Catering & Party Rental Aaron’s Catering of The Palm Beaches LLC • Classical Tents & Party Goods • Savory Harvest Catering Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking In Music, Inc. Energy The Berkshire Gas Company • Lipton Energy • Viking Fuel Oil Co. Inc. Financial Services American Investment Services, Inc. • Frank Battista, CFP® • Berkshire Money Management • Berkshire Wealth Advisors of Raymond James • Blue Spark Financial • Burack Investments • Susan and Raymond Held • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii, Inc. • October Mountain Financial Advisors • Primary Venture Partners • TD Wealth • UBS Financial Services Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • Koppers Chocolate Insurance Berkshire Insurance Group • Berkshire Life Insurance Company of America, a Guardian company • SA Genatt LLC Insurance • Jacquline A. Metsma • Stockbridge Risk Management • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • Cohen Kinne Valicenti & Cook LLP • Michael J. Considine, Attorney at Law • Gogel and Gogel • Hope Hagler, Esq. • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Kalib & Kalib • Linda Leffert, JD (Ret) • Louis J. Oggiani • Rubin & Ulrich, LLC • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • Apple Tree Inn • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • Blantyre • The Briarcliff Motel • Brook Farm Inn • Canyon Ranch in Lenox • Chesapeake Inn of Lenox • The Cornell Inn • Cranwell Spa and Golf Resort • Crowne Plaza Hotel- Berkshires • Devonfield Inn • An English Hideaway Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn Lenox/Pittsfield • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn/The Frederick • The Red Lion Inn • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • Wheatleigh Hotel & Restaurant Manufacturing/Distribution/Consumer Products Bell Container Corp. • General Dynamics Mission Systems • Iredale Mineral Cosmetics, Ltd • New Yorker Electronics • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. • Volkert Precision Technologies Inc. • Zogics, LLC Medical/Optical 510 Medical Walk In • J. Mark Albertson, DMD, PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Cyril & Dayne • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. and Mrs. Steven Gallant (Nancy) • Fred Hochberg, M.D. • William E. Knight, MD • Carol R. Kolton, MSW - Psychotherapy • Dr. Charles Mandel OD PC, Optometrist • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nusery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing Berkshire Eagle • Berkshire Magazine • Laurin Publishing • Qualprint • The Studley Press Real Estate 67 Church Street, LLC • Barnbrook/Christies International Real Estate • Barrington Associates Realty Trust • Benchmark Real Estate • Berkshire Property Agents • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White • Robert Gal LLC • Barbara K. Greenfeld • Hill Realty, LLC • LD Builders • MacCaro Real Estate • McLean & Mclean Realtors, Inc. • The Barb Osborne Team • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Port Asylum • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Teton Management Company • Lance Vermeulen Real Estate • Julie Weiss, Cohen + White • Tucker Welch Properties Resort/Spa Canyon Ranch in Lenox • Cranwell Spa and Golf Resort • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Barrington Brewery & Restaurant • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • Cranwell Spa and Golf Resort • Electra’s Café • Firefly Gastro Pub & Catering Co • Flavours of Malaysia • Frankie’s Ristorante • Haven Cafe & Bakery • John Andrews • Mad Jacks BBQ • Mazzeo’s Ristorante • Methuselah Bar & Lounge • No. Six Depot Roastery and Café • The Olde Heritage Tavern • Panda House Restaurant • Papa John’s • Pleasant and Main Café & General Store • Rouge Restaurant & Bistro • Rubi’s Coffee & Sandwiches • Table Six Restaurant Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • Casablanca • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires A 21st Century Marketplace • GB9 • The Gifted Child • Glad Rags • J. McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Big Y Supermarkets, Inc. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars • Rubiner’s Cheesemongers & Grocers • The Scoop/Blondie’s Homemade • Stop & Shop Supermarkets Retail: Home & Lifestyle Berkshire Home Design • Country Curtains • Design Menagerie • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Willowbrook Home Retail: Jewelry Laurie Donovan Designs Retail: Wine/Liquor Goshen Wine & Spirits, Inc • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • SPIRITED Salon Peter Alvarez Salon • Lotus Salon & Spa • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Gennari Plumbing & Heating • Pignatelli Electric • Michael Renzi Painting Co. LLC • Tune Street Transportation/Travel Abbott’s Limousine & Livery Service, Inc. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • Myriad Productions Yoga/Wellness/Health Berkshire Training Station • Dharma Coach • Eastover Estate and Retreat • Kripalu Center for Yoga & Health

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/ Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/Audition Coordinator

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Angelina Collins, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager,

Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Ofﬁcer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Ofﬁcer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

Facilities Robert Barnes, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives)

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

Public Relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • Helen Hailes, Visitor Center Manager • Christopher Holmes, Public Safety Supervisor • Tammy Lynch, Tanglewood Front of House Director • Peggy and John Roethel, Seranak Managers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers Executive Committee Chair Martin Levine Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood Alexandra Warshaw Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Mary Gregorio • Trish Lavoie

Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern

Liaisons, Tanglewood Glass Houses Stanley Feld • Ushers Carolyn Ivory Tanglewood Project Leads 2016 Brochure Distribution Robert Gittleman • Exhibit Docents Shelly Holtzberg and Richard Leif • Friday-Morning Rehearsals Gabriel Kosakoff • Friends Office Gayle Moskowitz and Linda Olson • Guide’s Guide Audley H. Fuller and Renee Voltmann • Newsletter Nancy Finn • Off-Season Educational Resources Susan Geller and Alba Passerini • Recruit, Retain, Reward Bobbi Cohn • Seranak Flowers Diane Saunders • Talks and Walks Alan Levine and Elliot Slotnick • Tanglewood Family Fun Fest William Ballen and Margery Steinberg • Tanglewood for Kids Susan Alin and Barbara Glasser • TMC Lunch Program Gerald L. and Joanne Dreher and Howard and Judy Levin • Tour Guides Howard Arkans and Mary Lincoln • Young Ambassadors William Ballen and Carole Siegel Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall