2016–17 season andris nelsons music director

week 2 widmann brahms

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Through January 29, 2017

Frances Stark, Chorus girl folding self in half (detail), 2008. Paper collage, graphite on The exhibition is presented at the MFA with generous support from The Ruth and Carl J. Shapiro Fund for Education, Public Programs paper. Collection Thea Westreich Wagner and Ethan Wagner. Promised gift to the Whitney and Special Projects. Additional support from the Robert and Jane Burke Fund for Exhibitions, the Amy and Jonathan Poorvu Fund for Museum of American Art, New York. Digital image © Whitney Museum of American Art. the Exhibition of Contemporary Art and Sculpture, the Diane Krane Family and Jonathan and Gina Krane Family Fund, the Barbara Jane Anderson Fund, the Bruce and Laura Monrad Fund for Exhibitions, and the Susan G. Kohn and Harry Kohn, Jr. Fund for Contemporary Prints. “UH-OH: Frances Stark 1991–2015” was organized by the Hammer Museum, Los Angeles. The exhibition was originated with support from Brenda Potter, along with generous support from Karyn Kohl and Maurice Marciano. Table of Contents | Week 2

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 a brief history of the bso 2 9 a message from andris nelsons 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 Jörg Widmann 39 55 To Read and Hear More…

Guest Artists

61 Yefim Bronfman 63 Camilla Tilling 67 Thomas Hampson 68 Tanglewood Festival Chorus 70 Lidiya Yankovskaya

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

the friday preview on october 7 is given by bso assistant director of program publications robert kirzinger.

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Chris Lee cover design by BSO Marketing

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 2 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

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

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

† Deceased

week 2 trustees and overseers 5 OYSTER PERPETUAL

DATEJUST 41

rolex oyster perpetual and datejust are ® trademarks. BSO News

Boston Symphony Chamber Players 2016-17 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 30 with a concert featuring the BSO’s new Artistic Partner Thomas Adès as pianist in a program of music by Britten, Adès, Brahms, Stravinsky, Purcell, and Schubert. Complete details of this season’s four-concert series are shown in the full-page ad on page 12. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” returns in 2016-17, again offering the opportunity to increase your enjoyment of BSO concerts. These five free sessions—an initial Tuesday (October 4) followed by four Wednesday sessions (November 2; February 15; March 15; April 12), all from 5:30-7 p.m. in Higginson Hall—with BSO Director of Program Publica- tions Marc Mandel joined by members of the BSO are designed to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining and illuminating aspects of musical shape and form, and of the composers’ individual musical styles. All of the sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. The specific musical works to be discussed will be posted at bso.org. Also this season, again thanks to the generosity of an anonymous donor, “BSO 101: Listening Up Close” takes to the road, offering five BSO 101 sessions with Marc Mandel and BSO musi- cians on Sunday afternoons from 2-3:30 p.m., at the Newton Free Library (October 9), Salem State University (November 6), The Arlington Center (February 19), Belmont Public Library (March 19), and Waltham Public Library (April 9). For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

BSO Community Chamber Concerts This Fall The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area this season, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one

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Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on Octo- ber 7 is given by Robert Kirzinger. The Friday Previews in the weeks ahead will be given by Marc Mandel on October 14, composer/pianist Jeremy Gill on October 21, and Robert Kirzinger on October 28.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musi- cians are available online, along with a one-year archive of concert broadcasts. Listeners can also hear the BSO Concert Channel, an online radio station consisting of BSO concert performances from the previous twelve months. Visit classicalwcrb.org/bso. Current and upcoming broadcasts include Andris Nelsons’ program this week of Widmann and Brahms with Yefim Bronfman, Camilla Tilling, Thomas Hampson, and the Tanglewood Fes- tival Chorus (October 8; encore October 17); music of Smetana, Bartók, Mussorgsky, and Janáˇcek led by Czech conductor Jakub Hru˚ša in his BSO debut, with violinist Frank Peter Zimmermann (October 15; encore October 24), and music of Walton, Elgar, and Holst led by Charles Dutoit with Yo-Yo Ma and the Tanglewood Festival Chorus (October 22; encore October 31). individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Virginia Wellington Cabot Trust endowed a Boston Symphony concert Memorial Concert, Thursday, in her name. October 6, 2016 Virginia Cabot was married to the late The concert on October 6, 2016, is given Thomas D. Cabot for seventy-five years. The in memory of Virginia Wellington Cabot of daughter of Louis B. Wellington and Louise Weston, who died on September 15, 1997, Lawton Wellington, she loved a broad range one week short of her 98th birthday. An of music and often accompanied herself on attendee of Friday-afternoon concerts for the piano as she sang to her family. Born in more than seventy years, she took over her Boston in 1899, Mrs. Cabot grew up on Bea- mother-in-law’s BSO subscription in 1934. In con Hill and in Weston, in an extended family 1992 a gift from the Cabot Family Charitable in which her parents, her aunt and uncle, and

week 2 bso news 9 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . her older sister all played and sang expertly Scala, and the Metropolitan , among at the piano. She graduated from the Winsor other companies; in concert she appeared School in 1917. On the Weston farm of her with the Boston Symphony Orchestra, New childhood, she nurtured a love for horses. York Philharmonic, and Philadelphia Orches- Immediately after her marriage in 1920, the tra, among other ensembles. Her signature Cabots moved to the heart of rural Appa- roles included Fiordiligi in Mozart’s Così fan lachia, where she would often accompany tutte, Violetta in Verdi’s La traviata, and the her husband on horseback as he inspected title role in Strauss’s Salome. She was equally the West Virginia pipelines of his father’s devoted to the music of living composers, gas company. An experienced mountaineer, collaborating with the likes of Aaron Cop- she made the first ascent of Mount Magog land, Ned Rorem, Lukas Foss, and Carlisle in the Canadian Rockies and later journeyed Floyd, creating the title role in the latter’s to the American Southwest to explore the opera Susannah and the role of Cathy in his Superstition Mountains of Arizona, the Zion Wuthering Heights. and Bryce canyons of Utah, and the Sangre Ms. Curtin retired from the stage in 1984 de Cristo range—all virtually uncharted after a singing career lasting four decades, when she hiked them in the 1920s and ’30s. by which time she was well into her teaching An expert canoeist, she and Mr. Cabot also career, including positions at Yale Univer- explored virtually all of New England’s water- sity and Boston University, where she was courses, resulting in the volume Quick Water Dean of the College of Fine Arts from 1983 and Smooth, the first printed guidebook for to 1991. In 1963, the same year she was New England Rivers. She was also among soloist with the BSO at Tanglewood the first wave of Americans who learned the in the American premiere of Britten’s War Austrian technique for downhill skiing from , she also taught the first of her the legendary Hannes Schneider. Later in Tanglewood master classes. Returning as life, Mrs. Cabot was engaged in conservation artist-in-residence in 1964, she continued activities in Maine, New Hampshire, Colo- teaching there for fifty-one years. She first rado, and Honduras. Mrs. Cabot shared her came to Tanglewood as a student in 1946, love of music, riding, skiing, sailing, and the participating that summer (her first of three) outdoors with all of her progeny, including in the American premiere of Britten’s Peter her children, grandchildren, and great-grand- Grimes. Many of her students have gone on children. to distinguished careers as both performers and teachers, including three who are now on The Wendy Shattuck and the voice faculty of the Tanglewood Music Sam Plimpton Concert Center: soprano Dawn Upshaw, mezzo- in Memory of Phyllis Curtin soprano Stephanie Blythe, and Friday, October 7, 2016 Sanford Sylvan. As she remarked in a 1971 interview, “teaching should be the culmi- The performance on Friday afternoon has nation of a career, not just a thing you do been named in memory of Phyllis Curtin by when you can’t do anything else.” Phyllis BSO Trustee Wendy Shattuck and Samuel Curtin was the example that proves the rule. Plimpton. With the passing of Phyllis Curtin at 94 this past June, the Boston Symphony Orchestra, Tanglewood, and the Tanglewood Go Behind the Scenes: Music Center lost an institution. Born in The Irving W. and Charlotte F. Rabb Clarksburg, West Virginia, Ms. Curtin turned Symphony Hall Tours her attention fully to music after graduating The Irving W. and Charlotte F. Rabb Sympho- from Wellesley College with a degree in ny Hall Tours, named in honor of the Rabbs’ political science. Her career in opera includ- devotion to Symphony Hall through a gift ed appearances at New York City Opera, from their children James and Melinda Rabb the Vienna State Opera, Covent Garden, La

week 2 bso news 11 boston symphony chamber players at jordan hall Founded in 1964, the renowned Boston Symphony Chamber Players combine the talents of the BSO’s principal players with those of guest artists and other BSO members to explore the full spectrum of chamber music repertoire. Concerts take place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 30, 3pm sunday, april 2, 3pm with Thomas Adès, piano with Elizabeth Fischborn, soprano and mezzo-soprano Kelley O’Connor and David Deveau, piano BRITTEN Sinfonietta for winds and strings, Op. 1 JOLIVET Pastorales de Noël, for flute, Thomas ADÈS Court Studies from The Tempest, bassoon, and harp for clarinet, violin, cello, and piano Fred LERDAHL Fire and Ice, for soprano and BRAHMS Ophelia-Lieder, arranged by John double Woolrich for voice and chamber ensemble PROKOFIEV Quintet for oboe, clarinet, violin, STRAVINSKY Three Shakespeare Songs viola, and double bass, Op. 39 PURCELL (arr. ADÈS) Two Songs Daniel CROZIER Masques, for oboe and string trio SCHUBERT Quintet in A for piano and BRAHMS Trio in A minor for clarinet, cello, strings, D.667, Trout and piano, Op. 114 sunday, january 22, 3pm sunday, may 7, 3pm TAFFANEL Wind Quintet in G minor with Leif Ove Andsnes, piano SAINT-SAËNS Septet in E-flat for piano, STRAVINSKY Octet for flute, clarinet, trumpet, and strings, Op. 65 two bassoons, two trumpets, and two Eric TANGUY Afterwards, for flute and piano trombones FRANÇAIX Octet for winds and strings Sofia GUBAIDULINA Garden of Joys and Sorrows, for flute, viola, and harp Please note that on the day of the concert, WEINBERG Sonata for solo double bass, Op. 108 tickets may only be purchased at Jordan Hall. SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67

Tickets: Call 617-266-1200 Please note that on the day of the concert, $38, $29, $22 or visit bso.org. tickets may only be purchased at Jordan Hall. and Betty (Rabb) and Jack Schafer, provide BSO Members in Concert a rare opportunity to go behind the scenes The Concord Chamber Music Society, found- at Symphony Hall. In these free, guided ed by BSO violinist Wendy Putnam, presents tours, experienced members of the Boston cellist David Finckel and pianist Wu Han Symphony Association of Volunteers unfold in recital—playing cello sonatas by Bach, the history and traditions of the Boston Sym- Beethoven, Brahms, and Rachmaninoff—on phony Orchestra—its musicians, conductors, Sunday, October 9, at 3 p.m. at the Concord and supporters—as well as offer in-depth Academy Performing Arts Center, 166 Main information about the Hall itself. Tours are Street, Concord, MA. Tickets are $42 and offered on selected weekdays at 4 p.m. and $33 (discounts for seniors and students). For some Saturdays during the BSO season. more information, call (978) 371-9667 or Please visit bso.org/tours for more informa- visit www.concordchambermusic.org. tion and to register. Along with Boston Conservatory faculty members and former students, members Join Our Community of of the BSO participate in the conservatory’s Music Lovers— memorial tribute to longtime BSO concert- The Friends of the BSO master Joseph Silverstein (who taught at Attending a BSO concert at Symphony Hall Boston Conservatory from 2012 to 2015) is a communal experience—thousands on Sunday, October 16, at 8 p.m. at Seully of concertgoers join together to hear 100 Hall. The program features works by Bach, musicians collaborate on each memorable Mozart, and Schubert. Admission is $10-$15. performance. Without an orchestra, there is For tickets, visit etix.com or call (617) 912- no performance, and without an audience, 2222. it is just a rehearsal. Every single person is The Boston Cello Quartet, founded in 2010 important to ensuring another great expe- by BSO cellists Blaise Déjardin, Adam rience at Symphony Hall. There’s another Esbensen, Mihail Jojatu, and Alexandre community that helps to make it all possible, Lecarme, performs in the Pro Arte Chamber one that you might not notice while enjoying Orchestra’s Fall Gala Concert, also featur- a concert—the Friends of the BSO. Every $1 ing soprano Barbara Quintiliani, on Friday, the BSO receives through ticket sales must October 21, at 8 p.m. at First Baptist Church, be matched by an additional $1 of contribut- Newton Centre. The program includes Vil- ed support to cover annual expenses. Friends la-Lobos’s Bachianas Brasileiras No. 5 and of the BSO help bridge that gap, keeping the selections from the BCQ’s recent acclaimed music playing to the delight of audiences all album “The Latin Project” (arrangements of year long. In addition to joining a commu- works by Granados, Piazzolla, Albéniz, and nity of like-minded music lovers, becoming others). Tickets are $30-$100, available at a Friend of the BSO entitles you to benefits proarte.org or by calling (617) 779-0900. that bring you closer to the music you cher- ish. Friends receive advance ticket ordering In a West Stockbridge Chamber Players con- privileges, discounts at the Symphony Shop, cert on Sunday, October 23, at 2 p.m., BSO and access to the BSO’s online newsletter violinist Sheila Fiekowsky, flutist Linda Toote, InTune, as well as invitations to exclusive clarinetist Catherine Hudgins, cellist William donor events such as BSO and Pops working Rounds, harpist Elizabeth Morse, and accor- rehearsals, and much more. Friends member- dionist Katherine Matasy perform music of ships start at just $100. To join our commu- Ibert, Salzedo, Villa-Lobos, Saint-Saëns, and nity of music lovers in the Friends of the BSO, Piazzolla. The performance, to benefit the contact the Friends Office at (617) 638-9276 West Stockbridge Historical Society, takes or [email protected], or join online at place at the 1854 Town Hall (a National His- bso.org/contribute. toric Register building), 9 Main Street, West

week 2 bso news 13 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . Stockbridge. Seating is limited. Tickets at $35 The Information Stand: Find Out can be purchased from West Stockbridge What’s Happening at the BSO merchants or reserved by e-mailing info@ weststockbridgehistory.org. Are you interested in upcoming BSO concert information? Special events at Symphony BSO principal flute Elizabeth Rowe is soloist Hall? BSO youth activities? Stop by the infor- in Bach’s Orchestral Suite No. 2 on Sunday, mation stand in the Brooke Corridor on the October 23, at 3 p.m. at Faneuil Hall with the Massachusetts Avenue side of Symphony Bach, Beethoven and Brahms Society, Steven Hall (orchestra level), and in the Cohen Wing Lipsitt, music director, on a program also during Pops concerts. There you will find the including music of Ginastera and Mozart. latest information on performances, mem- Tickets are $35-$78, available at web.ova- bership, and Symphony Hall, all provided tiontix.com. For more information, visit bbb- by knowledgeable members of the Boston society.org or call (305) 970-1132. Symphony Association of Volunteers. The BSO members Robert Sheena, English horn, BSO Information Stand is staffed before each Michael Wayne, clarinet, and Jason Snider, concert and during intermission. horn, are among the artists and NEC faculty performing in a “Music for Food” concert fea- Those Electronic Devices… turing works of Mozart, Brahms, and Berio on Sunday, October 23, at 7:30 p.m. at Brown As the presence of smartphones, tablets, Hall at New England Conservatory. “Music and other electronic devices used for com- for Food” is a musician-led initiative to fight munication, note-taking, and photography hunger in our community. Suggested dona- has increased, there have also been continu- tion is $25 ($10 for students); all proceeds ing expressions of concern from concertgoers benefit Women’s Lunch Place in Boston. Visit and musicians who find themselves distracted necmusic.edu for more information. not only by the illuminated screens on these devices, but also by the physical movements that accompany their use. For this reason, Friday-afternoon Bus Service and as a courtesy both to those on stage and to Symphony Hall those around you, we respectfully request If you’re tired of fighting traffic and search- that all such electronic devices be completely ing for a parking space when you come to turned off and kept from view while BSO per- Friday-afternoon Boston Symphony con- formances are in progress. In addition, please certs, why not consider taking the bus from also keep in mind that taking pictures of the your community directly to Symphony Hall? orchestra—whether photographs or videos— The BSO is pleased to continue offering is prohibited during concerts. Thank you very round-trip bus service on Friday afternoons much for your cooperation. at cost from the following communities: Beverly, Canton, Cape Cod, Concord, Comings and Goings... Framingham, the South Shore, Swamp- scott, Wellesley,Weston, and Worcester in Please note that latecomers will be seated Massachusetts; Nashua, New Hampshire; by the patron service staff during the first and Rhode Island. In addition, we offer bus convenient pause in the program. In addition, service for selected concerts from the Holy- please also note that patrons who leave the oke/Amherst area. Taking advantage of auditorium during the performance will not your area’s bus service not only helps keep be allowed to reenter until the next conve- this convenient service operating, but also nient pause in the program, so as not to dis- provides opportunities to spend time with turb the performers or other audience mem- your Symphony friends, meet new people, bers while the music is in progress. We thank and conserve energy. For further information you for your cooperation in this matter. about bus transportation to Friday-afternoon Boston Symphony concerts, please call the Subscription Office at (617) 266-7575.

week 2 bso news 15 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

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Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

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

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

week 2 on display 17 Marco Borggreve

Andris Nelsons

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

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in col- laboration with , 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

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

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

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film enti- tled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 2 andris nelsons 19 Boston Symphony Orchestra 2016–2017

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

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

20 photos by Michael J. Lutch

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

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e’re proud to be the official provider of the Boston Symphony Orchestra The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 136th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist 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 perfor- mances in Boston and at Tanglewood, but also via the internet, radio, television, education- al programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important 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 train- ing 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 standard 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 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion 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 back- grounds 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

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Proudly Offered by Northland Residential Corporation, Developer of Exceptional Properties Throughout New England For Over 45 Years revered concert halls, opened on October 15, 1900. Henschel was BSO Archives succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary 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 International 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 Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky 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 Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced 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 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In BSO Archives 1979, the BSO, under the direction of Seiji Ozawa, was ceilings, first floor master suite and private outdoor space, the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named prin- cipal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included , from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

week 2 a brief history of the bso 25

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 includ- ed works newly commissioned for the orchestra’s 125th anniversary, particularly from sig- nificant American composers; issued a number

BSO Archives of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood 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 next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra con- tinues 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 elec- tronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

BE INSPIRED! 59th SEaSoN, 2016–2017

BOSTON YOUTH SYMPHONY ORCHESTRAS BYSO ON PARADE Federico Cortese, Music Director Sunday, March 12, 2017 • 3pm • Symphony Hall BRiTTEN the Young Person’s Guide to the orchestra 59TH SEASON OPENING CONCERT Sunday, October 16, 2016 • 3pm • Symphony Hall 59TH SEASON FINAL CONCERT MOZART Symphony No. 41, “Jupiter” Sunday, June 11, 2017 • 3pm BEETHOVEN Symphony No. 8 Sanders Theatre at Harvard University BARTÓK Concerto for orchestra BRaHMS Symphony No. 4 BYSO OPERA Sunday, January 29, 2017 • 3pm For tickets visit www.BYSOweb.org Sanders Theatre at Harvard University Experience the Future of photo by Michael J. Lutch TcHaikOVSky Eugene Onegin

In residence at Boston University BYSO/BSO: Partnering for the Future

week 2 a brief history of the bso 27

A Message from Andris Nelsons...

Very Dear Friends,

I am really excited to begin our third season with the Boston Symphony Orchestra. Each season, I feel the ties of our musical family growing stronger. It is wonderful to meet more and more members of the audience; all of you are so enthusiastic about our music.

We have a wonderful season ahead of us, with some of your favorite compos- ers, including Brahms, Strauss, Beethoven, and Mahler, plus an unparalleled group of soloists—with an incredible roster of pianists among them—who will be appearing with the orchestra. We will also perform more music by one of my favorite composers, Shostakovich, continuing our recording of the Shostakovich CD cycle. I am truly humbled that our first CD, Shostakovich's Symphony No. 10, was awarded both a Grammy and a Gramophone Award.

This season we continue the BSO’s commitment to new music with several premieres of BSO commissions. In that tradition, I am also so pleased to say that composer-conductor-pianist Thomas Adès will be our Artistic Partner for the next three seasons.

Thank you for your support and commitment to the BSO. It means so much to all of us to have you as a part of our musical family.

Warmest regards,

week 2 a message from andris nelsons 29 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, October 6, 8pm | the virginia wellington cabot memorial concert Friday, October 7, 1:30pm | the wendy shattuck and sam plimpton concert in memory of phyllis curtin Saturday, October 8, 8pm | the joseph c. mcnay/new england foundation concert

andris nelsons conducting

widmann “trauermarsch,” for piano and orchestra yefim bronfman

{intermission}

From Brahms’s manuscript of the third movement of the “German Requiem”; the text reads “... hoffe auf dich. Der Gerechten Seelen...”

30 brahms “ein deutsches requiem” (“a german requiem”), opus 45, on words from holy scripture Selig sind, die da Leid tragen (Blessed are they that mourn) Denn alles Fleisch es ist wie Gras (For all flesh is as grass) Herr, lehre doch mich (Lord, make me to know) Wie lieblich sind deine Wohnungen (How amiable are thy tabernacles) Ihr habt nun Traurigkeit (Ye now have sorrow) Denn wir haben hie keine bleibende Statt (For here we have no continuing city) Selig sind die Toten (Blessed are the dead) camilla tilling, soprano thomas hampson, baritone tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor Text and translation begin on page 51.

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 2 program 31 The Program in Brief...

This week’s concerts open with the first Boston Symphony performances of any music by the German composer Jörg Widmann, born in in 1973, and who is also an accomplished conductor and world-class clarinetist. His Trauermarsch for piano and orchestra was co-commissioned by the Berlin Philharmonic, San Francisco Symphony, and Toronto Symphony for Yefim Bronfman, who premiered it with and the Berlin Philharmonic in December 2014. The title translates to “Funeral March”—an idea that has captured composers’ imaginations throughout history, famous examples from the standard orchestral repertoire including those in Beethoven’s Eroica Symphony and Mahler’s Fifth Symphony.

Though Widmann set out to write a conventionally structured, multi-movement concerto, the funeral march music he planned as an introduction was so compelling that he decid- ed to explore its potential over the course of a single, twenty-minute movement, during which the march undergoes an evolving and far-ranging process of variation. The primary two-note descending figure is, according to the composer, “a motif that since Monteverdi has expressed lament.” (There is a similar figure at the start of the second movement of Brahms’s German Requiem.) Widmann uses changes in orchestration, dynamics, and density with intricate layerings of independent ideas to create kaleidoscopic variety.

Brahms’s Ein deutsches Requiem offers a view of death that is both uplifting and consol- ing. Rather than set a liturgical Mass text, Brahms instead assembled his own choice of passages from Holy Scripture—in Martin Luther’s German translation—to emphasize a message of consolation for those left behind on earth. As to the title, he observed that the adjective “German” was simply a reference to the language employed; he himself preferred to think of Ein deutsches Requiem as a human requiem rather than a specifically German one.

Two of the German Requiem’s movements bear specific connections to Brahms’s life: the second, which opens with powerful, dirge-like music originally conceived by Brahms following the suicide attempt in 1854 of his mentor ; and the fifth, the soprano solo in which Brahms memorializes his own mother, who died in 1865. But of course the entire piece was “personal” for Brahms. It is the largest piece he ever wrote, also encompassing, in a variety of ways, musical techniques and perspectives reflect- ing his thorough knowledge and absorption of religious music harking back to Heinrich Schütz and even earlier, Renaissance composers. And while clearly Handelian in their inspiration, the great fugues that cap the third and sixth movements are decidedly Brahmsian in their scope and manner.

Yet most of Ein deutsches Requiem proceeds softly, in keeping with the single word— “selig,” “holy”—with which Brahms so quietly begins the first movement and ends the last. In the final pages, the music of the very beginning returns, transformed, heard in a new light, Brahms’s message of consolation for those left on earth now also encom- passing and embracing those who, though gone, are yet still with us.

Robert Kirzinger/Marc Mandel

32 Marco Borggreve

Jörg Widmann “Trauermarsch” for piano and orchestra (2014)

JÖRG WIDMANN was born in Munich on June 19, 1973, and lives in Munich and Freiburg. He composed “Trauermarsch” (“Funeral March”) on commission from the Berlin Philharmonic together with the San Francisco Symphony Orchestra and Toronto Symphony Orchestra. The world premiere was given by pianist Yefim Bronfman and the Berlin Philharmonic under Simon Rattle’s direction on December 18, 2014, at the Philharmonie in Berlin. The first American per- formance of “Trauermarsch” was given by Bronfman with Michael Tilson Thomas and the San Francisco Symphony this past summer, on June 23, 2016. The present performances are the first BSO performances of any music by Jörg Widmann.

IN ADDITION TO THE SOLO PIANO, the score of “Trauermarsch” calls for three flutes (all doubling piccolo), three oboes (second doubling English horn), three clarinets in A (second dou- bling E-flat clarinet and bass clarinet, third doubling contrabass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets in B-flat, two trombones, tuba, timpani, three percussionists (I. glockenspiel, vibraphone, small, medium, and large suspended cymbals, Chinese cymbal, water gong, small drum, bass drum, slide whistle, vibraslap; II. tubular bells, cowbells, Peking Opera gong, water gong, small, medium, and large tam-tams, small drum, vibraslap, waterphone; III. crotales, xylophone, small, medium, and large cymbals, Chinese cym- bal, small and large tam-tams, Brazilian tambourine, bass drum, claves, slide whistle), two harps, celesta, and strings. (Cellos and half the double basses tune their lowest strings to B-flat.)

It was like euphoria, nothing I had planned: Every gesture of the piano evoked a comment in the orchestra. Strangely, the passages which I thought needed to see the piano alone...they never came. But I struggled for the best possible presence of the piano sound. This is why the orchestral part shows extremely particular dynamic markings. Eventually, only seconds before the end of the concerto, a catastrophic event occurs and the piano is overrun by the orchestra. But that is, of course, a matter of dramaturgy. —Jörg Widmann on his Trauermarsch

week 2 program notes 33 Jörg Widmann is at one and the same time a musician fascinated with and deeply inspired by the past and an experimentalist searching for something new. Active as a clarinetist, conductor, and composer, he began clarinet lessons at age seven and composition les- sons with Kay Westermann the following year. He has worked with such teachers as Hans Werner Henze, Heiner Goebbels, Wilfried Hiller, and , all of whose reputations rest firmly on highly innovative and diverse works for the stage, and all of whose music harnesses a wide range of styles and techniques toward dramatic ends. Widmann has followed in their footsteps in arriving at a compositional voice prioritizing highly expressive narratives (for the most part in the absence of an actual text). His musical language admits virtually any sonic possibility, from triads and traditional scales to abstract sounds produced via extended techniques; the entire gamut might be con- tained within a single large-scale work.

Widmann studied clarinet in Munich and with Charles Neidich at the Juilliard School in New York; his repertoire encompasses Mozart’s Clarinet Concerto and Clarinet Quin- tet, Brahms’s Clarinet Quintet and Clarinet Trio, Messiaen’s Quartet for the End of Time, and many works by contemporary composers, as well as his own music. He has had a number of pieces written for him by major composers, among them Wolfgang Rihm’s Music for Clarinet and Orchestra and Aribert Reimann’s Cantus. Widmann’s stature as a world-class clarinetist working with similarly high-level performers throughout Europe doubtless played a role in solidifying his reputation as a composer. By his mid-twenties his music had been championed by such musicians as violinist and conductor Christoph Poppen, violinist Isabelle Faust, cellist Jan Vogler, and many other outstanding perform- ers. Widmann’s conducting activity has expanded from occasional performances in his early career to a steady stream of concerts. He is principal guest conductor of the Irish Chamber Orchestra and has led many of Germany’s top ensembles in a wide variety of repertoire. In the United States, during the 2011-12 season, he and his music were a focus of Carnegie Hall’s “Making Music” series, and he has been in residence at Ver- mont’s Yellow Barn summer program. He was also the Daniel R. Lewis Young Composer Fellow of the Cleveland Orchestra. (It was at Carnegie Hall that Yefim Bronfman, for whom Widmann wrote Trauermarsch, premiered the composer’s Eleven Humoresques.)

Very prolific, Widmann has worked on many scales, from the György Kurtág-like incisive miniatures of the Freie Stücke (“Free Pieces”; 2002) to his two full-length , (2012) and (“The Face in the Mirror”; 2003/2010), both of which were premiered at the in Munich. In addition to Trauermarsch, he has written many works for orchestra, with and without soloist, including his Viola Concerto (2015), co-commissioned by the , Swedish Radio Sympho- ny Orchestra, and the Bavarian Radio orchestras; Flûte en suite for flute and orchestra (2011), written for the Cleveland Orchestra; Teufel Amor (“Devil Love”), premiered by the Vienna Philharmonic; a series of Labyrinth pieces for orchestra; and “epic” concertos for violin (2007, written for Christian Tetzlaff and the Junge Deutsche Philharmonie), oboe (2009/2010, written for and premiered by with the Mahler Chamber Orchestra, George Benjamin conducting), and cello (Dunkle Saiten [“Dark Strings”], for

34 Marco Borggreve

Jörg Widmann at work

cello, orchestra, and two female voices; 2000, for Jan Vogler). Beyond their premieres, a great many of his pieces have entered the repertoires of a number of different ensembles.

For any artist, engaging with art of the past is inevitable, but that engagement can be deliberate or passive, depending on the artist’s overall predilections as well as the goal of a given piece. If deliberate, it remains to be decided whether one’s stance is nega- tive—a rejection of past themes and techniques—or positive, as in a continuation or expansion of an earlier idea. Negative reactions have often involved rejection of the immediate past, whereas a positive conversation might entail anything from a further examination of one’s teacher’s philosophies to a fascination with styles or personalities from hundreds of years ago. In music, as in other arts, a way of focusing one’s dialog with the past is through the use of established formal models. For a poet, this might be sonnet or sestina; for a composer, it might be minuet, sonata form, or, on a broader scale, symphony. Any model or form could be as abstract and free of context as the composer can manage, but often as not these older forms are archetypes, carrying the meaningful weight of history. “Symphony,” for example, requires grappling with Beetho- ven, as Brahms had to do; plus, for later composers, it requires grappling with Brahms himself, and Mahler, and Sibelius.

Many of Jörg Widmann’s pieces thrive on direct, albeit varied, responses to the music of his great predecessors: his Octet evidently takes cues from (at least) Mozart and Schubert, the flute concertoFlûte en suite from Baroque concertos; for orchestra was commissioned to respond to Beethoven’s symphonies, and Trauermarsch is a med- itation on the long tradition of the funeral march. Along with, and because of, its pres- ence in actual funeral rites, the genre of the funeral march has had a strong fascination for concert composers. Among the most famous examples are the second movement of Beethoven’s Eroica Symphony; the third movement of Chopin’s Piano Sonata No. 2, the second movement of Schumann’s Piano Quintet, Opus 44, and—perhaps most relevant

week 2 program notes 35 to the present piece—the third movement of Mahler’s First Symphony and the first of his Fifth Symphony. The latter movement is called, unequivocally, “Trauermarsch.”

With regard to his own Trauermarsch, Widmann cites Mahler as well as Alban Berg as antecedents. Berg’s historically hyperaware use of archetype is unparalleled in the 20th century: for Widmann, the most important touchstone is likely Berg's Three Orchestra Pieces (1915), the third movement of which is the March, which serves as an armature (an especially trenchant one) for a great variety of innovative orchestral and harmonic effects. Speculative specificity of precedent aside, Berg and Mahler certainly provided the opulent orchestral sound-world into which Widmann immersed himself when con- ceiving his concerto.

Ironically, during the course of composing Trauermarsch Widmann ended up exchanging one formal model for another: Writing the piece for Yefim Bronfman, who of course is known for his performances of the great concerto repertoire, the composer initially intended to structure it more traditionally, creating hundreds of pages of sketches that in the end he didn’t use. “Originally I wanted to write a four-movement work for piano and orchestra. When I started working I was convinced that the opening funeral march would just be a short introduction to a large-scale allegro first movement. As I continued to write I got more and more obsessed with the funeral march’s rhythm. At some point it was obvious to me to give up the four-movement idea in favor of one large-scale, slow

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36 funeral march-movement.” Widmann’s funeral march adds to the archetype by “ques- tioning the form of the funeral march: is it still relevant today?” In the process, he also ends up questioning the idea of “concerto” as well.

The piece begins with piano alone, playing the two-note gesture (G-flat–F, eventually implying B-flat minor) that is the key to the entire piece, a “motif that since Monteverdi has expressed lament,” the composer has said. Although there is an echo here of Mahler’s Ninth Symphony, the reference is incidental, a collateral effect of Widmann’s musical background and his intentions for Trauermarsch. Each piano gesture elicits a response in the orchestra, and each gesture-and-response pair suggests the next devel- opment in a line of what is ultimately revealed as a set of extended, far-ranging variations.

Following the piano’s entrance-lament, a trumpet ushers in the orchestra and the rhythm of the funeral march proper. The piano’s phrases, within the overall character of the funeral march, embrace a variety of virtuosic techniques—rapid arpeggios and scales, dense counterpoint, massive chords—with concomitant but often surprising echoes in the orchestra. Rhapsodic solo passages in cello and violin, outbursts in the high wood- winds, a long harmonic glissando in the strings, water gong and rattling harp strings (“Schepperklang”) vie for our attention with the basic familiarity of the march rhythm and minor-key tonality. The piece slips into and out of what seems to be different modes, as in the high, dotted-note repeated piano chord about a third of the way into the piece, or a virtually solo, romantic excursion for the pianist in the high register, which brings the orchestra along in an almost accompanimental series of repeated chords. This latter passage is interrupted by an outburst of brass. At about the midpoint of the piece, a high, airy passage in piano is echoed in the bell-like crotales. Most surprising is a sweet, pop-song-like passage for the soloist with slightly off-kilter responses in violin, flute, and percussion. Every such excursion, though, dissolves or collapses under its own weight, sinking in exhaustion back into the ponderousness of the funeral march. The “catastrophic event” (referenced in the Widmann quote at the start of this note) is a series of noisy orchestral chords, the piano clamoring to be heard: when the orchestra drops out entirely, the piano, playing chords marked “sfffffffz” and “con tutta la forza” (“with every bit of force”), remains exposed. It’s the last attempt to escape the pull of the march: the ensu- ing minute sketches a rapid dispersal of energy back to the fundamental spirit of the piece.

Robert Kirzinger

Composer/annotator robert kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Johannes Brahms “Ein deutsches Requiem” (“A German Requiem”), Opus 45, on words from Holy Scripture

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He completed all but what is now the fifth movement of “Ein deutsches Requiem” in August 1866. Johannes Herbeck conducted the first three movements on December 1, 1867, in Vienna; the first performance of the six then-existing movements was given on Good Friday of 1868 in the Bremen cathedral; Brahms conducted, with Julius Stockhausen as baritone soloist. Brahms added the fifth movement (“Ihr habt nun Traurigkeit,” which calls for solo soprano) in May 1868, that movement first being sung on September 17 that year in Zurich. The soloist was Ida Suter-Weber, with Friedrich Hegar conducting the Tonhalle Orchestra. The first performance of the complete seven-movement work took place in Leipzig on February 18, 1869; Carl Reinecke conducted the Gewandhaus Orchestra and Chorus, with soloists Emilie Bellingrath-Wagner and Franz Krückl. THE SCORE OF “EIN DEUTSCHES REQUIEM” calls for four-part chorus, soprano and baritone soloists, and an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, bass tuba, harp (one part, but prefera- bly doubled), timpani, organ, and strings.

the background When Johannes Brahms produced his most ambitious and heartfelt works, he was apt to be the most flippant and dismissive in talking about them. In April 1865 he sent a draft toward a new piece, observing, “It’s probably the least offensive part of some kind of German Requiem. But since it may have vanished into thin air before you come to Baden, at least have a look at the beautiful words it begins with.” The chorus he is impugning, “How lovely is thy dwelling place, O Lord of Hosts,” of course did not vanish from Ein deutsches Requiem. In fact, it is one of the most limpidly beautiful and beloved works in the entire choral repertoire.

Brahms, photographed in Bremen in 1868 when “Ein deutsches Requiem” was premiered

week 2 program notes 39 Program for the first Boston Symphony Orchestra performances of Brahms’s “Ein deutsches Requiem,” a pair of Pension Fund concerts on March 28 and 29, 1926, with Serge Koussevitzky conducting (BSO Archives)

40 In later years Brahms said, “I don’t like to hear that I wrote the Requiem for my mother.” By the law of Brahmsian obliqueness, that is a tacit admission that the death of his beloved mother in 1865 was part of the inspiration. He just didn’t like people talking about it. In a letter of 1873 he is forthright about the other half of its inspiration; after the collapse of a performance proposed for a Robert Schumann memorial, he insists “how completely and inevitably such a work as the Requiem belonged to Schumann.”

So Ein deutsches Requiem had piercing personal associations for Brahms: the loss of his mother Christiane, and of Robert Schumann, his mentor and spiritual father. The incep- tion of the work dates from the traumatic episode of May 1854: soon after proclaiming Brahms the coming genius of German music, Schumann plunged into the Rhine in a crazed attempt at suicide. Within days of the disaster Brahms had sketched three movements of a two-piano sonata, which he later tried to turn into a symphony. The first movement of those unfinished works became the tumultuous first movement of the Piano Concerto in D minor. The original second movement, a kind of death march in tri- ple time, eventually became the second movement of the Requiem: “For all flesh, it is as grass.” The premiere of what was intended as the complete work took place in Bremen Cathedral on Good Friday, 1868. Afterward, on the advice of his old Hamburg teacher Eduard Marxsen, Brahms added the soprano solo as fifth movement.

It is characteristic of Brahms to have created a memorial for two revered people as a sacred work (a conventional thing to do), to base the work on precedents in religious music (likewise conventional), yet to write a piece remarkably unlike any other. Ein deutsches Requiem is neither a Mass nor quite an oratorio. It is not designed for a church setting or based on a traditional liturgical text, but rather is compiled from the Bible and the Apocrypha by a composer who knew scripture intimately.

The title “Ein deutsches Requiem” gives us the first clue to the work’s singularity. This is “a” requiem, a personal memorial for the dead rather than “the” familiar Catholic one. Beyond that, the work is so spiritual and so Protestant in tone that few listeners notice a strange omission in the text: it never mentions the eponymous founder of the Christian religion.

This oversight was dutifully pointed out to Brahms by musician/theologian Karl Reinthaler, who prepared the chorus for the first performance: “In this composition you stand... certainly on Christian ground.... But what is lacking... is the pivotal point: the salvation in the death of our Lord.” Brahms responded to Reinthaler politely but unequivocally: “I confess that I would gladly omit even the word ‘German’ and instead use ‘Human.’ Also... I would dispense with places like John 3:16. On the other hand, I’ve chosen one thing or another because...I needed it, and because with my venerable authors I can’t delete or dispute anything.”

The biblical verse Brahms would dispense with is perhaps the central one in the Christian faith: “For God so loved the world, that He gave His only begotten Son, that whoever believes in him should not perish, but have everlasting life.” If Brahms was a

week 2 program notes 41 BOSTON PHILHARMONIC BOSTON PHILHARMONIC ORCHESTRA YOUTH ORCHESTRA

An all-Russian program The astonishing In Mo opens the season with Lera Yang, recent winner of the Auerbach’s enthralling Icarus, Paganini competition, is Rachmaninoff’s brilliantly a magnet who will draw inventive Rhapsody on a Theme everyone interested in the of Paganini with the dazzling violin to this concert. In pianist Ya-Fei Chuang, and Prokofiev’s thrilling Fifth Tchaikovsky’s heart-wrenching Symphony the BPYO itself Sixth Symphony. will be the virtuoso soloist.

LERA AUERBACH BENJAMIN SIBELIUS BENJAMIN Icarus ZANDER Finlandia ZANDER (Boston premiere) conductor conductor SIBELIUS RACHMANINOFF YA-FEI IN MO CHUANG Violin Concerto YANG Rhapsody on a piano violin Theme of Paganini PROKOFIEV Symphony No. 5 TCHAIKOVSKY Symphony No. 6, Pathétique

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North German Protestant by upbringing and temperament, he was also a skeptic and Rachmaninoff’s brilliantly agnostic—in the terms of our day, a “secular humanist.” With his usual implacable hon- esty, he made sure his work embodied that conviction. In saying “I can’t delete or dis- pute” familiar sacred words, he obliquely confesses that even the hopes of resurrection Prokofiev’s thrilling Fifth in the piece are not his own sentiments. So Brahms wrote his Requiem not as an address to the dead but to comfort the living. And it has comforted them through the generations since that first Good Friday in Bremen, when it was received as a work of overwhelming impact and historic impor- tance. In his mid-thirties, after years of creative uncertainty, Brahms had finally become the towering artist that Robert Schumann had prophesied years before.

YA-FEI the music “Selig,” “blessed,” begins Ein deutsches Requiem. At the end of its journey the music comes to rest on the word “selig.” The first blessing is for the living, the last for those who are gone, who rest from their labors. The theme of the opening movement is con- solation. It starts with pulsing basses and the organ-like warmth of violas and cellos (Brahms kept the brightness of violins out of this movement), and the gentleness and somber beauty of that opening set the tone of the whole work. The first words foreshad- ow the purpose of the Requiem, and its progression from darkness to light: “Blessed are they that mourn, for they shall be comforted.” Brahms’s setting is attentive to every line, every word. The movement rises to a first climax in a blaze of light on “they shall be comforted”; the second section expresses sorrow in falling figures and joy in rising ones.

From the beginning the style of Ein deutsches Requiem is at once completely Brahmsian and unique in his work. At the same time it is suffused with echoes of religious music back through Beethoven’s Missa Solemnis, through Mozart and Haydn to Bach and Handel, beyond that a century earlier to the austere gravity of Heinrich Schütz, and

week 2 program notes 43 further back to the Renaissance polyphonists. As in Schütz, the music of the Requiem seems to rise directly from the German of Luther’s Bible: “Selig sind, die da Leid tragen, denn sie sollen getröstet werden.” The music gives voice to the spirit of those words, which return at the end of the first movement distilled to their essence: getröstet“ werden,” “be comforted.”

The second movement is an evocation of death that ends in joy. It begins as a heavy and mournful dance of death, a Brahmsian dies irae as it had been when he first sketched it in the days after Robert Schumann’s plunge into the Rhine. The dark minor of the theme is counterpoised by pealing, Bach-like high chords in strings and winds; beneath is the fateful and relentless pounding of drums. In stark octaves the voices declaim “Denn alles Fleisch es ist wie Gras...” (“For all flesh it is as grass, and every splendor of men

2016-17

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week 2 program notes 45 Music for All! Something for everyone!

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46 like the grasses’ bloom”). Then the gentle answering phrase, “the grass has withered, and the flowers fallen.” A contrasting section evokes the patience of the husbandsman waiting for his seeds to grow, then the funeral march overtakes that image of rebirth, building to a kind of all-consuming anguish before the radiant answer in music recalling Beethoven’s Ode to Joy: “But the Lord’s word endures forever...and sorrow and sighing shall flee away.”

In the third movement the word “I” first appears, the text a picture of despair that will be answered by certainty. The solo baritone and choir exchange the chastening words from scripture: “Surely every man walks in a vain show... he heaps up riches, and knows not who shall gather them.” Yet this movement ends again in joy and consolation—a pealing fugue over the fixed pedal point of certainty in the bass: “But the souls of the righteous are in the hand of God.”

Next an interlude in the form of an artless, sublime folk song on the image of the heav- enly home, repeating over and over, “How lovely is thy dwelling place, O Lord of Hosts.” In the fifth movement the solo soprano’s central words evoke the assurance of hope, and the memory of Christiane Brahms: “I will comfort you as one whom his mother comforts.”

The sixth movement brings dark colors and old/new harmonies to the hope of rebirth: “Now we have here no dwelling place but seek the one to come.” In this image of res- urrection Brahms put in the last trumpet but left out the terror of last judgement. This simple and plainspoken movement displays one of the driving forces of the Requiem: har- monies at once archaic and fresh, piercingly expressive with every turn. The movement ends with a grand fugue on Handelian verses and, for the first time, with Handel as its manifest inspiration: “Lord, thou art worthy to receive glory and honor and power.” This movement is the climax of the Requiem, ending with Handelian kettledrums. (On the whole, though, the Requiem is one of the few large choral works of the 19th century not dominated by echoes of Handel.)

The music of the finale is full and rich but not showy, with the same lyrical sweetness, the same limpid austerity that the Requiem possesses from its beginning. It comes to rest without Beethovenian or Handelian perorations but with submission to the inevi- table, a peace of resignation and meditation. “Blessed are they that mourn,” Brahms’s Requiem begins. It ends, “Blessed are the dead which die in the Lord from henceforth: Yea, said the Spirit, they rest from their labors.” With a radiant gentleness the music dies away on its opening word, “selig,” “blessed”—the dead blessed not in Paradise but in the hearts of the living.

In the aftermath of 9/11, Ein deutsches Requiem was chosen for the main commemora- tion in New York. No work could have been more eloquent and appropriate. Brahms’s Requiem has no trace of incense, no bowing to the altar. It reaches beyond the walls of churches to touch the eternal sources of grief and hope. It is a spiritual work in the uni- versal language of music, addressed to all humanity, which is to say, to those that mourn and need comfort. “Freude,” “joy,” is the word heard most often in Ein deutsches Requiem.

week 2 program notes 47 48 Brahms meant “Freude” in the same sense Beethoven did in the Ninth Symphony. For a humanist, joy is the summit of life, and it is the rebirth of joy that all people hope for on the other side of mourning.

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 stud- ied composition, he is currently working on a biography of Mozart.

THE FIRST COMPLETE AMERICAN PERFORMANCE of Brahms’s “Ein deutsches Requiem” took place (sung in English) on March 15, 1877, at New York’s Steinway Hall, with Leopold Damrosch conduct- ing the Oratorio Society, Agriol Paur having already conducted the Liederkranz Society in excerpts, sung in German, on January 24, 1875, at the Clubhouse in New York.

THE FIRST BOSTON SYMPHONY ORCHESTRA PERFORMANCES of “Ein deutsches Requiem” were given by Serge Koussevitzky on March 28 and 29, 1926, with the Harvard Glee Club, Radcliffe Choral Society, and soloists Ethyl Hayden and Boris Saslawsky (see page 40). Koussevitzky led the work on four other occasions with the same choral forces between 1930 and 1947 (plus a 1936 perfor- mance of “Behold all flesh is as the grass” to mark the Harvard Tercentenary), his soloists including Jeannette Vreeland, Elisabeth Rethberg, and Frances Yeend, and Fraser Gange, David Blair McClosky, Keith Falkner, and James Pease. Koussevitzky’s performances in 1926, 1933, 1939, and 1947 were all for the benefit of the BSO Pension Fund; his performances in 1930 and 1933 were part of Brahms Festivals he led in those years. Since then (which is to say, between 1948 and 2014) there have been BSO performances under the direction of Robert Shaw, Charles Munch, Erich Leinsdorf, William Steinberg, Seiji Ozawa, Klaus Tennstedt, Kurt Masur, Jeffrey Tate, Edo deWaart (a 1999 Tanglewood performance in memory of Robert Shaw, who was to have conduct- ed), Rafael Frühbeck de Burgos, James Levine, Christoph von Dohnányi, and Bramwell Tovey. The most recent BSO performances of “Ein deutsches Requiem” were Tovey’s (subscription concerts in October 2014, with soloists Rosemary Joshua and Bryn Terfel). The most recent Tanglewood per- formance was led by James Levine on July 25, 2009, with Hei-Kyung Hong and Matthias Goerne. Prior to that, Levine had led subscription performances (which later served as basis for a BSO Classics release on compact disc) in September 2008 with Christine Schäfer and Michael Volle; and a performance on July 14, 2006, with the Tanglewood Festival Chorus, of the movement “Wie lieblich sind deine Wohnungen” in memory of Lorraine Hunt Lieberson, who had died eleven days earlier. Except for Rafael Frühbeck de Burgos’s 2003 Tanglewood performance with the Mormon Tabernacle Choir, the Tanglewood Festival Chorus has participated in all BSO performances of “Ein deutsches Requiem” since October 1977. Over the years, the soprano soloists with the BSO in the piece have also included Lois Marshall, Hilde Gueden, Joan Carlyle, Helen Boatwright, Saramae Endich, Veronica Tyler, Judith Blegen, Esther Hinds, June Anderson, Rebecca Evans, Janice Chandler, Heidi Grant Murphy, and ; the baritone soloists have also included William Warfield, Donald Gramm, Hermann Prey, Sherrill Milnes, David Clatworthy, Robert Hale, Benjamin Luxon, Thomas Hampson, Bo Skovhus, Nathan Gunn, Russell Braun, and Hanno Müller-Brachmann. Other choruses have included the Festival Chorus (at Tanglewood), the joint Tanglewood Choir and Berkshire Chorus, the New England Conservatory Chorus, the Rutgers Chorus (in Leinsdorf-led performances in 1963 in New Brunswick and at Carnegie Hall), and the Iowa State Singers and Oratorio Chorus (in a 1972 performance in Ames, Iowa, under Steinberg).

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(A note on the text and translation: Brahms, perhaps working from memory, sometimes departed in certain details from Martin Luther’s words; the text is given here as he set it. Occasionally the German and English translations of the Bible diverge, and in a few places where it is useful for the understanding of Brahms’s music, we depart from the Authorized Version in order to give a closer rendering of the text Brahms had before him.)

I. Selig sind, die da Leid tragen, Blessed are they that mourn: denn sie sollen getröstet werden. for they shall be comforted. Matthew 5:4 Die mit Tränen säen, werden mit They that sow in tears shall reap in joy. Freuden ernten. Sie gehen hin und They go forth and weep, bearing weinen und tragen edlen Samen und precious seed, and shall doubtless come kommen mit Freuden und bringen again with rejoicing, bringing their ihre Garben. sheaves with them. Psalm 126:5-6

II. Denn alles Fleisch es ist wie Gras und For all flesh is as grass, and all alle Herrlichkeit des Menschen wie des the glory of man as the flowers of Grases Blumen. Das Gras ist verdorret grass. The grass withereth, and the und die Blume abgefallen. flower thereof falleth away. I Peter 1:24 So seid nun geduldig, lieben Brüder, bis Be patient, therefore, brethren, unto auf die Zukunft des Herrn. Siehe, ein the coming of the Lord. Behold, the Ackermann wartet auf die köstliche husbandman waiteth for the precious Frucht der Erde und ist geduldig darüber, fruit of the earth, and hath long bis er empfahe den Morgenregen und patience for it, until he receive the Abendregen. early and latter rain. James 5:7 Denn alles Fleisch es ist wie Gras und For all flesh is as grass, and all alle Herrlichkeit des Menschen wie des the glory of man as the flower of Grases Blumen. Das Gras ist verdorret grass. The grass withereth, and the und die Blume abgefallen. flower thereof falleth away. Aber des Herrn Wort bleibet in But the word of the Lord endureth for Ewigkeit. ever. I Peter 1:24-25 Die Erlöseten des Herrn werden wieder And the ransomed of the Lord shall kommen und gen Zion kommen mit return, and come to Zion with songs Jauchzen; ewige Freude wird über ihrem and everlasting joy upon their heads: Haupte sein; Freude und Wonne werden they shall obtain joy and gladness, sie ergreifen, und Schmerz und Seufzen and sorrow and sighing shall be made wird weg müssen. to flee. Isaiah 35:10

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week 2 text and translation 51 III. Herr, lehre doch mich, dass ein Ende mit Lord, make me to know that there must mir haben muss, und mein Leben ein be an end of me, that my life has a term, Ziel hat und ich davon muss. and that I must hence. Siehe, meine Tage sind einer Hand breit Behold, thou hast made my days as a vor dir, und mein Leben ist wie nichts handbreadth; and mine age is as nothing vor dir. Ach, wie gar nichts sind alle before thee: verily, every man at his Menschen, die doch so sicher leben! best state is altogether vanity. Sie gehen daher wie ein Schemen und Surely every man walketh in a vain machen ihnen viel vergebliche Unruhe; shew: surely they are disquieted in sie sammeln, und wissen nicht, wer es vain: he heapeth up riches and knoweth kriegen wird. not who shall gather them. Nun, Herr, wes soll ich mich trösten? And now, Lord, what is my hope? Ich hoffe auf dich. My hope is in thee. Psalm 39:4-7 Der Gerechten Seelen sind in Gottes The souls of the righteous are in the Hand, und keine Qual rühret sie an. hands of God, and there shall no torment touch them. Wisdom of Solomon 3:1

IV. Wie lieblich sind deine Wohnungen, How amiable are thy tabernacles, O Herr Zebaoth! Lord of hosts! Meine Seele verlanget und sehnet sich My soul longeth, yea, even fainteth for nach den Vorhöfen des Herrn; mein the courts of the Lord: my heart and my Leib und Seele freuen sich in dem flesh rejoice in the living God. lebendigen Gott. Wohl denen, die in deinem Hause Blessed are they that dwell in thy house: wohnen; die loben dich immerdar. they will still be praising thee. Psalm 84:1-2,4

Celebrating

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52 V. Ihr habt nun Traurigkeit; aber ich will Ye now have sorrow: but I will see you euch wieder sehen, und euer Herz soll again, and your heart shall rejoice, sich freuen, und eure Freude soll and your joy no man taketh from you. niemand von euch nehmen. John 16:22 Ich will euch trösten, wie einen seine I will comfort you as one whom his Mutter tröstet. mother comforteth. Isaiah 66:13 Sehet mich an: ich habe eine kleine Zeit Behold with your eyes: a little while I Mühe und Arbeit gehabt und habe have had tribulation and labour, and grossen Trost funden. have found great comfort. Ecclesiasticus 51:35

VI. Denn wir haben hie keine bleibende For here we have no continuing city, Statt, sondern die zukünftige suchen wir. but we seek one to come. Hebrews 13:14 Siehe, ich sage euch ein Geheimnis: Behold I shew you a mystery: Wir werden nicht alle entschlafen, wir We shall not all sleep, but we shall werden aber alle verwandelt werden; all be changed, und dasselbige plötzlich, in einem in a moment, in the twinkling Augenblick, zu der Zeit der letzten Posaune. of an eye, at the last trump: Denn es wird die Posaune schallen, und for the trumpet shall sound, and die Toten werden auferstehen unver- the dead shall be raised incorruptible, weislich, und wir werden verwandelt and we shall be changed. werden. Dann wird erfüllet werden das Wort, Then shall be brought to pass, the dass geschrieben steht: saying that is written: “Der Tod ist verschlungen in den Sieg. Death is swallowed up in victory. Tod, wo ist dein Stachel? O death, where is thy sting? Hölle, wo ist dein Sieg?” O grave, where is thy victory? I Corinthians 15:51-52, 54-55 Herr, du bist würdig, zu nehmen Preis Thou art worthy, O Lord, to receive und Ehre und Kraft, denn du hast alle glory and honour and power: for thou Dinge geschaffen, und durch deinen hast created all things, and for thy Willen haben sie das Wesen und sind pleasure they are and were created. geschaffen. Revelation 4:11

VII. Selig sind die Toten, die in dem Herrn Blessed are the dead which die in the sterben, von nun an. Ja, der Geist spricht, Lord from henceforth: Yea, saith the dass sie ruhen von ihrer Arbeit; denn Spirit, that they may rest from their ihre Werke folgen ihnen nach. labours; and their works do follow them. Revelation 14:13

week 2 text and translation 53 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of 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 To Read and Hear More...

The most complete source of information about Jörg Widmann and his music is his website, joergwidmann.com, which includes a biography, information about his com- positions, a discography, news about forthcoming performances and premieres, and so forth. Siglind Bruhn’s book The Music of Jörg Widmann was published in 2013 (and simul- taneously in German as Die Musik von Jörg Widmann) by Edition Gorz. Two German-only titles were printed by the composer’s publisher, Schott: Im sog der Klänge (“Absorbed in Sounds,” 2005), the composer in conversation with Markus Fein; and Spuren: Der Kom- ponist Jörg Widmann, by Hans-Klaus Jungheinrich (2013).

A video of the premiere of the composer’s Trauermarsch is available through subscrip- tion via the Berlin Philharmonic’s Digital Concert Hall (digitalconcerthall.com). While you’re there you can hear quite a few others of Widmann’s pieces, including his Violin Concerto with soloist Christian Tetzlaff, led by Andris Nelsons in 2012; his Flûte en suite led by Simon Rattle; Teufel Amor led by , and his Octet performed by members of the Berlin Philharmonic. Trauermarsch is otherwise not yet available as a commercial release.

Many of Widmann’s other works are available on CD and via streaming/download ser- vices; the following is a selective list. Christian Tetzlaff recorded his Violin Concerto and Insel der Sirenen with and the Swedish Radio Symphony Orchestra, on a

Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of www.fairmont.com/copley-plaza-boston week 2 read and hear more 55 release with the composer’s Antiphon for orchestra (Ondine). Christoph Poppen and the Deutsche Radio Philharmonie recorded his Messe, Fünf Bruchstücke, and Elegie for clarinet and orchestra (ECM). The Zurich Collegium recorded an album of his chamber- ensemble works (Neos), and pianist Jan Philip Schulze an album of solo piano pieces (also Neos). His five string quartets have been recorded by both the Minguet Quartet (Wergo) and the Leipzig Quartet (MDG). The composer himself was soloist in his own Drei Schattentanze for clarinet and orchestra, on an album with his performances of the Mozart and Weber clarinet concertos with the Deutsches Symphonie-Orchester Berlin led by (Orfeo). As a clarinetist, Widmann has made numerous recordings, including the Mozart and Brahms clarinet quintets, the Brahms and Beethoven clarinet trios, Schubert’s Octet, Messiaen’s Quartet for the End of Time, and works by a number of modern composers, including Reimann, Berio, Rihm, and Genzmer. With his sister, the violinist Carolin Widmann, he recorded Erkki-Sven Tüür’s Concerto for Violin and Clar- inet, Noesis (ECM). As a conductor, this year Widmann released a recording of Men- delssohn’s symphonies 1 and 4 and his own trumpet concerto ad absurdum with the Irish Chamber Orchestra (Orfeo).

Robert Kirzinger

Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the “Master Musicians” series (Schirmer); Michael Musgrave’s A Brahms Reader, which offers wide-ranging consid- eration of the composer’s life and work (Yale University Press); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronol- ogy of the composer’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (from 1905, but peri- odically available in reprint editions). For detailed analysis of the works, go to Michael Musgrave’s The Music of Brahms (Oxford paperback) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). Michael Steinberg’s note on Ein deutsches Requiem is in his compilation volume Choral Masterworks–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the German Requiem can be found among his Essays in Musical Analysis (Oxford paperback). The chapter by John Steane on Ein deutsches Requiem in Choral Music on Record (edited by Alan Blyth) offers thoughtful discussion of the wide range of tempos to be heard in a variety of recordings (University of Cambridge, 1991).

The Boston Symphony Orchestra led by James Levine with the Tanglewood Festi- val Chorus, soprano Christine Schäfer, and baritone Michael Volle can be heard in a live performance of Ein deutsches Requiem drawn from concerts that opened the BSO’s

week 2 read and hear more 57 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

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58 2008-09 subscription season (BSO Classics). Erich Leinsdorf and the BSO recorded the German Requiem in 1968/69 with the New England Conservatory Chorus, Montserrat Caballé, and Sherrill Milnes (RCA). Camilla Tilling has recorded Ein deutsches Requiem with , the Berlin Radio Symphony Orchestra and Chorus, and baritone Detlef Roth (Pentatone). Thomas Hampson has recorded it with Daniel Barenboim, the Chicago Symphony Orchestra and Chorus, and soprano Janet Williams (Erato). The clas- sic recorded account, from 1961, is Otto Klemperer’s with the Philharmonia Orchestra and Chorus, Elisabeth Schwarzkopf, and Dietrich Fischer-Dieskau (EMI). Other recordings (listed alphabetically by conductor) include ’s with the Berlin Philharmon- ic, Swedish Radio Chorus, Barbara Bonney, and Bryn Terfel (Arthaus DVD); Carlo Maria Giulini’s with the Vienna Philharmonic, Vienna State Opera Chorus, Barbara Bonney, and Andreas Schmidt (Deutsche Grammophon); Bernard Haitink’s with the Vienna Philhar- monic, Vienna State Opera Chorus, Gundula Janowitz, and Tom Krause (Philips); Philippe Herreweghe’s with La Chapelle Royale Paris, the Champs-Élysées Orchestra, Collegium Vocale, Christiane Oelze, and Gerald Finley (harmonia mundi); Yannick Nézet-Séguin’s with the London Philharmonic Orchestra and Choir, Elizabeth Watts, and Stéphane Degout (LPO Live); Simon Rattle’s with the Berlin Philharmonic and Berlin Radio Chorus, Dorothea Röschmann, and (EMI), and Robert Shaw’s with the Atlanta Symphony Orchestra and Chorus, Arleen Augér, and Richard Stilwell (Telarc).

Marc Mandel

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week 2 read and hear more 59 familymatters

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goulstonstorrs.com Guest Artists

Yefim Bronfman

Acclaimed for his solo recitals, prestigious orchestral engagements, and many recordings, Yefim Bronfman is widely regarded as one of today’s most talented virtuoso pianists. In November 2016 he concludes his residency with the Staatskapelle Dresden (conducted by in Dresden and on tour in Europe) in Tokyo’s Suntory Hall, marking its 30th anniversary. Acknowledging a relationship of more than thirty years, Mr. Bronfman opens the Israel Philharmonic’s season under and later participates in that orchestra’s 80th-birthday celebrations. Besides his appearances this season with orches- tras worldwide and in recital (including a cross-country series culminating at Carnegie Hall’s Isaac Stern Auditorium), he and Pinchas Zukerman appear in Copenhagen, Milan, Naples, Barcelona, Berlin, and St. Petersburg. Mr. Bronfman's chamber music partners have also included Martha Argerich, Magdalena Kožená, Anne-Sophie Mutter, Emmanuel Pahud, and many others. Summer engagements regularly take him to the major festivals of Europe and the United States, and he has given numerous solo recitals in the leading halls of North America, Europe, and the Far East. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age fifteen. That same year he was awarded the prestigious Avery Fisher Prize, and in 2010 he was the recipient of the Jean Gimbel Lane Prize in piano performance from Northwestern University. Widely praised for his solo, chamber, and orchestral recordings, Mr. Bronfman was nominated for a 2009 Grammy for his Deutsche Grammophon record- ing of Esa-Pekka Salonen’s Piano Concerto with Salonen conducting; in 1997 he won a Grammy for his recording of the three Bartók piano concertos with Salonen and the Los

week 2 guest artists 61 A BLAZING RETELLING OF THE OEDIPUS STORY

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62 Angeles Philharmonic. Performances on DVD include Beethoven’s Emperor Concerto with Andris Nelsons and the Royal Orchestra from the 2011 Lucerne Festival, and both of Brahms's piano concertos with Franz Welser-Möst and the Cleveland Orches- tra. Among recent CD releases is the 2014 Grammy-nominated recording of Magnus Lind- berg’s Piano Concerto No. 2 (commissioned for him) with the New York Philharmonic and . Born in Tashkent in the Soviet Union, Yefim Bronfman moved to Israel with his family in 1973. A student of Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University, he also studied in the United States with Rudolf Firkušný, Leon Fleisher, and Rudolf Serkin. A 2015 recipient of an honorary doctorate from the Manhattan School of Music, he became an American citizen in July 1989. Yefim Bronfman made his Boston Symphony Orchestra debut with subscription concerts in Symphony Hall in January 1989 and his Tanglewood debut in August 1990. He has since appeared regularly with the orchestra at both venues, most recently for Beethoven’s Choral Fantasy on the BSO’s final concert of the 2014 Tanglewood season, and in subscription performances of Bartók’s Piano Concerto No. 2 in November 2015.

Camilla Tilling

Camilla Tilling’s career has now spanned almost two decades. An acclaimed early debut at New York City Opera launched her career on an international trajectory, which has taken her to the world’s major stages while simultaneously resulting in an impressive discography. Since her debut at the Royal Opera House–Covent Garden as Sophie () she has returned to London as Pamina (Die Zauberflöte), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera), Gretel (Hansel und Gretel), and, most recently, Susanna (Le nozze di Figaro). She has appeared at the Metropolitan Opera as Zerlina (Don Giovanni) and Nannetta (); at Opéra National de Paris and La Scala as Ilia (Idomeneo); at Lyric Opera of Chicago, Moscow’s Bolshoi Theatre, La Monnaie in Brussels, and the Munich Opera Festival as Sophie; at , Festival d’Aix-en-Provence, Bayerische Staatsoper, and Opéra National de Paris as Susanna, and, last season, at Drottningholm’s Slottsteater in a role debut as the Countess (Le nozze

week 2 guest artists 63 di Figaro). She has also enjoyed success as the Governess (The Turn of the Screw) at the Glyndebourne Festival, Euridice (Orfeo ed Euridice) at the Salzburg Mozartwoche, Donna Clara (Der Zwerg) at Bayerische Staatsoper, the Angel (Saint François d’Assise) at Dutch National Opera, and Mélisande (Pelléas et Mélisande) at Madrid’s Teatro Real and Sem- peroper Dresden and with the . A regular guest with many of the world’s leading orchestras, she recently sang Bach’s St. Matthew Passion with the Berlin Philharmonic and Sir Simon Rattle, Schumann’s Faustszenen with the NDR Elbphilharmonie Orchester under , Brahms’s A German Requiem with the New York Philharmonic under Christoph von Dohnányi and Tonhalle-Orchester Zürich under Bernard Haitink, Dutilleux’s Correspondances with the Los Angeles Philharmonic under Esa-Pekka Salonen, Bach’s Mass in B minor with the Vienna Symphony under Philippe Jordan, and Berg’s Seven Early Songs with the Sydney Symphony under Dohnányi, Orchestre National de France under Daniele Gatti, and London Symphony Orchestra under François-Xavier Roth. Besides her house debut at Royal Swedish Opera as Countess Almaviva, her current season includes Mahler’s Symphony No. 4 with the Berlin Philharmonic and Rattle, Beetho- ven’s Missa Solemnis at La Scala under Haitink and with the Royal Stockholm Philharmonic under Michael Tilson Thomas, and, in the United States, Brahms’s A German Requiem with the Boston Symphony Orchestra under Andris Nelsons and Beethoven’s Symphony No. 9 with the New York Philharmonic under Alan Gilbert. Among her recordings are three recital discs with Paul Rivinius, including “I skogen” (a celebration of Nordic composers, on Bis), as well as Haydn’s Die Schöpfung, Handel’s La resurrezione, and, on DVD, Ilia in Idomeneo from La Scala, conducted by Daniel Harding. Camilla Tilling made her BSO sub- scription series debut in Mendelssohn’s Lobgesang in January 2012, subsequently appear- ing with the orchestra in Mahler’s Second and Fourth symphonies at both Tanglewood (making her debut there in August 2013, in Mahler’s Fourth) and Symphony Hall.

week 2 guest artists 65

Thomas Hampson

Thomas Hampson hails from Spokane, Washington. He has received many honors and awards for his probing artistry and cultural leadership. Honored as a Metropolitan Opera Guild “Met Mastersinger” and inducted into both the American Academy of Arts and Sci- ences and Gramophone’s 2013 Hall of Fame, Mr. Hampson is one of the most respected and innovative musicians of our time. Encompassing more than 170 albums, his discog- raphy includes winners of a Grammy Award, five Edison Awards, and the Grand Prix du Disque. He received the 2009 Distinguished Artistic Leadership Award from the Atlantic Council in Washington, D.C., and was appointed the New York Philharmonic’s first artist- in-residence. In 2010 he was honored with a Living Legend Award by the Library of Congress, where he serves as Special Advisor for the Study and Performance of Music in America. Furthermore, he received the famed Concertgebouw Prize and was named ’s “Singer of the Year” in 2011, marking the fourth time he has received that distinction over a twenty-year period. Mr. Hampson was made honorary professor on the Faculty of Philosophy at the University of Heidelberg and holds honorary doctorates from the Manhattan School of Music, New England Conservatory, Whitworth College, and San Francisco Conservatory, as well as being an honorary member of London’s Royal Academy of Music. He carries the titles of Kammersänger of the Vienna State Opera and Comman- deur dans l’Ordre des Arts et des Lettres of the Republic of France, and was awarded the Austrian Medal of Honor in Arts and Sciences. Mr. Hampson enjoys a singular internation- al career as an opera singer, recording artist, and “ambassador of song,” maintaining an active interest in research, education, musical outreach, and technology. Recently induct- ed into the American Academy of Arts and Sciences, he has won worldwide recognition for thoughtfully researched and creatively constructed programs as well as recordings that explore the rich repertoire of song in a wide range of styles, languages, and periods. Through the Hampsong Foundation, which he founded in 2003, he employs the art of song to promote intercultural dialogue and understanding. Thomas Hampson made his BSO debut in July 1991 at Tanglewood, in a performance of Brahms’s Ein deutsches Requiem programmed in memory of Leonard Bernstein; this was the day after his Tanglewood debut singing music of Bernstein and Mahler with the Tanglewood Music Center Orchestra, also in memory of Bernstein. Mr. Hampson has since sung with the BSO on numerous

week 2 guest artists 67 occasions, in Boston, at Tanglewood, and at Carnegie Hall, most recently in a February 2004 Pension Fund concert at Symphony Hall (singing Mahler’s Wayfarer Songs), and in 2007 (Mahler and Delius), 2009 (Thomson and Barber), and 2014 (a selection of Copland’s Old American Songs) at Tanglewood, where he has also appeared in recital at Seiji Ozawa Hall.

Tanglewood Festival Chorus Lidiya Yankovskaya, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

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

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

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

week 2 guest artists 69 Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

Lidiya Yankovskaya

Russian-born conductor Lidiya Yankovskaya’s engagements this season include Beth Mor- rison Projects, American Lyric Theater, New Opera NYC, MetroWest Opera, Marin Alsop’s Cabrillo Festival, the Center for Contemporary Opera in NYC, and the Flagstaff Symphony Orchestra. She also participates in Dallas Opera’s Inaugural Institute for Women Con- ductors and Marin Alsop’s Taki Concordia Fellowship. Ms. Yankovskaya serves as artistic director of Juventas New Music Ensemble and as a conductor with the Boston Youth Symphony Orchestras. She was previously music director/conductor of Commonwealth Lyric Theater, music director of Harvard’s Lowell House Opera, and assistant conductor and chorus master with Opera Boston, Odyssey Opera, and Gotham Chamber Opera. As a Conducting Fellow under Lorin Maazel at his Castleton Festival, she assisted Mr. Maazel and regularly filled in for him in rehearsal and performance. Lidiya Yankovskaya’s choral, symphonic, and operatic work has garnered critical acclaim and numerous awards. Recent projects include San Francisco productions of Boris Godunov and Iolanta with New Opera NYC; performances with National Sawdust’s Composer in Residence program; Tchaikovsky’s Queen of Spades and Britten’s A Midsummer Night’s Dream (first place, The American Prize) with Lowell House Opera; Juventas New Music’s NEA-funded puppetry collaboration entitled Music in Motion; the world premiere performances and recording of the ballet HackPolitik; Rachmaninoff’s Aleko with Commonwealth Lyric Theater (winner of the National Opera Association Award for Best Production in the Professional Category), Rimsky-Korsakov’s Snegurochka (the first fully staged, Russian-language production of the opera in the U.S. and the work’s New England premiere); and the world premiere of Isaac Schankler’s Light and Power with Juventas (winner of the National Opera Association Award and The American Prize for best professional production). Ms. Yankovskaya holds degrees from Vassar College and Boston University. Visit LidiyaYankovskaya.com for more information.

70 Tanglewood Festival Chorus Lidiya Yankovskaya, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Brahms Ein deutsches Requiem, October 2016)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. sopranos

Deborah Abel • Deborah Coyle Barry • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave # • Anna S. Choi • Lisa Conant-Nielsen • Bridget Dennis • Emilia DiCola • Christine Pacheco Duquette* • Mary A. V. Feldman # • Kaila J. Frymire • Hailey Fuqua • Bonnie Gleason • Cynde Hartman • Polina Dimitrova Kehayova • Donna Kim • Nancy Kurtz # • Jane Labriola • Barbara Abramoff Levy § • Farah Darliette Lewis • Ebele Okpokwasili-Johnson • Laurie Stewart Otten • Kimberly Pearson • Livia M. Racz # • Melanie Salisbury # • Laura C. Sanscartier • Johanna Schlegel • Sandra J. Shepard • Stephanie Steele • Alison L. Weaver • Lauren Woo mezzo-sopranos

Betty Blanchard Blume # • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride* • Denise Glennon • Mara Goldberg • Betty Jenkins • Irina Kareva • Susan L. Kendall • Evelyn Eshleman Kern* • Yoo-Kyung Kim • Eve Kornhauser • Gale Tolman Livingston* • Anne Forsyth Martín • Kristen McEntee • Louise-Marie Mennier • Louise Morrish • Fumiko Ohara* • Andrea Okerholm Huttlin • Roslyn Pedlar # • Laurie R. Pessah • Linda Doreen Rapciak • Ada Park Snider* • Amy Spound • Lelia Tenreyro-Viana • Cindy M. Vredeveld • Christina Wallace Cooper # • Karen Thomas Wilcox

Brad W. Amidon # • James Barnswell • John C. Barr # • Stephen Chrzan • John Cunningham • Tom Dinger • Ron Efromson • Len Giambrone • James E. Gleason • J. Stephen Groff* • David Halloran # • John W. Hickman # • Stanley G. Hudson # • Timothy O. Jarrett • James R. Kauffman # • Kwan H. Lee • Michael Levin • Lance Levine • David Norris* • Peter Pulsifer • Tom Regan • Brian R. Robinson • David Roth • Arend Sluis • Peter L. Smith • Martin S. Thomson • Adam Van der Sluis • Stratton Vitikos • Joseph Y. Wang • Hyun Yong Woo basses Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks* • Eric Chan • Jeff Foley • Mark Gianino • Mark L. Haberman* • William Hurwitz • David M. Kilroy • Will Koffel • G.P. Paul Kowal # • Bruce Kozuma # • Timothy Lanagan # • Christopher T. Loschen • Greg Mancusi-Ungaro • Eryk P. Nielsen • Stephen H. Owades § • Donald R. Peck # • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf # • Andrew Scoglio • Kenneth D. Silber • Scott Street • Stephen Tinkham • Bradley Turner # • Thomas C. Wang # • Terry Ward # • Peter J. Wender § • Lawson L.S. Wong • Carl T. Wrubel

Martin Amlin, Rehearsal Pianist Julia Carey, Rehearsal Pianist Livia M. Racz, German Diction Coach Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

week 2 guest artists 71 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 run- ning a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

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

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

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

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza 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 • Samantha and John Williams • Anonymous (3)

72 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 (9)

‡ Deceased

week 2 the great benefactors 73 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 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 • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mr. and Mrs. Paul M. Montrone • 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 • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis • Anonymous

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by August 31, 2016. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

week 2 the maestro circle 75 encore Noubar and Anna Afeyan • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. ‡ and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • William David Brohn • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Dr. Rebecca M. Henderson and Dr. James A. Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Intercontinental Real Estate Corporation, Peter Palandjian • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • John O’Leary • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Sean Rush and Carol C. McMullen • Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip A. Sharp • Solange Skinner •

week 2 the higginson society 77 Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200.

78 Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Marillyn Zacharis • Anonymous (6) sponsor Helaine B. Allen • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank O. Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Jill K. Conway • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Jack Gorman • Mrs. Winifred P. Gray • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mrs. Thomas P. King • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Norma and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Betsy and Will Shields • Marshall Sirvetz • Gilda Slifka • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Sharon and David Steadman • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Matthew and Susan Weatherbie • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6)

week 2 the higginson society 79

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 • 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 • 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, Orchestra Personnel Administrator 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 Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 2 administration 81 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 • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • 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 • Garfield Cunningham, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 2 administration 83 join our community of music lovers

The Boston Symphony is a world-renowned orchestra right in your community. But every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances and the BSO’s connection to its community through education and engagement. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more, or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. 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 • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Jane Esterquest, Box Office Administrator • Kelsey 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

week 2 administration 85 25

MUSIC FOUNDATION INSPIRING new voices HONORING the legacy

Silver Anniversary Gala MONDAY, OCTOBER 31 SYMPHONY HALL, BOSTON

GARRICK OHLSSON

ANDRÉ PREVIN

MEMBERS OF THE BSO BOSTON COMMUNITY GOSPEL CHOIR

Presentation of the Terezín Legacy Award to BERNIE & SUE PUCKER

Gala Chairs CYNTHIA & OLIVER CURME

Tickets: www.tmfgala.org | Tel. 857-222-8263

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

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

boston symphony orchestra bso 101 A FREE ADULT EDUCATION SERIES BSO 101: Are You Listening? Each BSO 101 session is followed by a free tour Increase your enjoyment of BSO concerts. of Symphony Hall. Though admission is free, we These five sessions at Symphony Hall from request that you make a reservation to secure 5:30–7pm with BSO Director of Program your place. Group rates (20 or more people) Publications Marc Mandel joined by members apply; call 617-638-9345 for details. of the BSO are designed to enhance your Tuesday, October 4: Surveying the Season listening abilities and appreciation of music Wednesday, November 2: Johannes Brahms– by focusing on upcoming BSO repertoire, Rethinking Tradition examining and illuminating aspects of musical shape and form, and of the Wednesday, February 15: Sibelius & Par Excellence composers’ individual musical styles. Shostakovich–Individualists Wednesday, March 15: Berlioz & Dutilleux– Please RSVP online or by calling 617-266-1200. Journeys in Sound Wednesday, April 12: Mozart & Mahler– bso.org/bso101 Speaking to the Heart

week 2 administration 87 Next Program…

Thursday, October 13, 8pm Friday, October 14, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 15, 8pm

jakub hr˚uša conducting

smetana “šárka,” from “má vlast”

bartók violin concerto no. 2 Allegro non troppo Andante tranquillo Allegro molto frank peter zimmermann

{intermission}

mussorgsky “night on bald mountain,” arranged and orchestrated by nikolai rimsky-korsakov

janácekˇ “taras bulba,” rhapsody for orchestra The Death of Andri The Death of Ostap Prophecy and Death of Taras Bulba

Making his BSO debut, Czech conductor Jakub Hru˚ša is joined by acclaimed German violinist Frank Peter Zimmermann for Béla Bartók’s scintillating Violin Concerto No. 2, a 1938 work strongly influenced by Central European folk music. The other three works on the program are based on Slavic myth and legend. Smetana’s Šárka, a tone poem from his large, patriotic cycle Má Vlast (“My Country”), is named for a legendary Czech maiden warrior and illustrates an episode from her life. Mussorgsky’s famously scary Night on Bald Mountain (depicted in Disney’s Fantasia) seems to have originated in plans for an unrealized opera on the subject of a witches’ sabbath, in part inspired by the great Russian writer Nikolai Gogol. Based on a Gogol novella, Janáˇcek’s 1918 symphonic rhapsody Taras Bulba is one of his most familiar and powerful works—but has never been performed by the BSO.

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

Thursday ‘B’ October 13, 8-10 Thursday ‘C’ October 27, 8-10:05 Friday ‘B’ October 14, 1:30-3:30 Friday ‘B’ October 28, 1:30-3:35 Saturday ‘A’ October 15, 8-10 Saturday ‘B’ October 29, 8-10:05 CHARLES DUTOIT, conductor JAKUB HRU˚ ŠA, conductor ILDIKÓ KOMLÓSI, mezzo-soprano (Judith) FRANK PETER ZIMMERMANN, violin MATTHIAS GOERNE, baritone (Bluebeard) SMETANA Šárka, from Ma Vlást MOZART Symphony No. 39 BARTÓK Violin Concerto No. 2 BARTÓK Bluebeard’s Castle MUSSORGSKY Night on Bald Mountain (sung in Hungarian with JANÁCˇEK Taras Bulba English supertitles)

Thursday ‘A’ October 20, 8-10 Sunday, October 30, 3pm Friday ‘A’ October 21, 1:30-3:30 Jordan Hall, New England Conservatory Saturday B’ October 22, 8-10 BOSTON SYMPHONY CHAMBER PLAYERS Tuesday ‘B’ October 25, 8-10 with THOMAS ADÈS, piano CHARLES DUTOIT, conductor and KELLEY O’CONNOR, mezzo-soprano YO-YO MA, cello BRITTEN Sinfonietta for winds and WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, strings, Op. 1 LISA GRAHAM, guest chorus conductor ADÈS Court Studies from The Tempest, WALTON Portsmouth Point Overture for clarinet, violin, cello, and piano ELGAR Cello Concerto BRAHMS Ophelia-Lieder, arranged by HOLST The Planets John Woolrich for voice and chamber ensemble STRAVINSKY Three Shakespeare Songs PURCELL Two Songs, arranged by Thomas Adès for voice and piano SCHUBERT Quintet in A for piano and Programs and artists subject to change. strings, D.667, Trout

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

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

week 2 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

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

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

week 2 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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