Week 19 2016–17 Season Haydn Debussy Beethoven

2016–17 season andris nelsons music director

week 19 haydn debussy beethoven

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner “I buried my negatives in the ground in order that there should be some record of our tragedy.” — Henryk Ross

March 25–July 30, 2017

Henryk Ross, Ghetto police escorting residents for deportation (detail), 1942–44. Contact print from 35 mm negative. Collection of the Art Gallery of Ontario. Gift from Archive of Modern Conflict, 2007. © Art Gallery of Ontario, 2017. Organized by the Art Gallery of Ontario, in association with the Museum of Fine Arts, Boston. Lead support from Lisbeth Tarlow and Stephen Kay. With generous support from Marc S. Plonskier and Heni Koenigsberg, and Roberta and Stephen R. Weiner. Additional support provided by The David Berg Foundation; Dr. John and Bette Cohen; the Rita J. and Stanley H. Kaplan Family Foundation, Inc.; Mary Levin Koch and William Koch; Ronald and Julia Druker; the Highland Street Foundation; Joy and Douglas Kant; Marjie and Robert Kargman; Brian J. Knez; Myra Musicant and Howard Cohen; James and Melinda Rabb; Cameron R. Rahbar and Dori H. Rahbar; the Schlebovitz Family; Candice and Howard Wolk; Xiaohua Zhang and Quan Zhou; and the Andrew and Marina Lewin Family Foundation. Educational and public programming is generously supported by the Beker Foundation. Additional support provided by the Phillip and Edith Leonian Foundation. With thanks to our partners Facing History and Ourselves, and the Jewish Arts Collaborative (JArts). Table of Contents | Week 19

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 4 this week’s program

Notes on the Program

26 The Program in Brief… 27 Joseph Haydn 35 Claude Debussy 41 Ludwig van Beethoven 49 To Read and Hear More…

Guest Artists

55 Bernard Haitink 57 Tanglewood Festival Chorus 60 Lidiya Yankovskaya

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

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 • 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 • Everett L. Jassy •

week 19 trustees and overseers 3 OYSTER PERPETUAL DATEJUST 41

rolex oyster perpetual and datejust are ® trademarks. photos by Michael Blanchard and Winslow Townson

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 19 trustees and overseers 5 2016–17 season appreciation night tuesday, march 21, 2017

The BSO gratefully acknowledges the generous support of its BSO Business Partners.

For information on BSO Business Partners membership, contact Claudia Veitch at [email protected] or 617-638-9275. BSO News

Another Grammy for Andris Nelsons and the Boston Symphony Orchestra Music Director Andris Nelsons and the Boston Symphony Orchestra’s most recent Deutsche Grammophon recording in the series “Shostakovich Under Stalin’s Shadow”— a two-disc set including Shostakovich’s symphonies 5, 8, and 9, plus excerpts from the composer’s 1932 incidental music for Hamlet—won the Grammy Award for Best Orches- tral Performance at the 59th annual Grammy Awards on February 12, marking the second consecutive year in which the BSO has garnered a Grammy in this category. Released in May 2016, the two-disc set is part of an ongoing collaboration between the BSO, Andris Nelsons, and Deutsche Grammophon to record all fifteen of Shostakovich’s symphonies and his opera Lady Macbeth of Mtsensk. This year’s Grammy follows upon the success of the first album of the BSO/DG collaboration—pairing Shostakovich’s ymphonyS No. 10 with the Passacaglia from Lady Macbeth of Mtsensk—which won the Grammy for Best Orchestral Performance in February 2016. The next album in the series, to be taken from performances at Symphony Hall this season, will include Shostakovich’s symphonies 6 and 7 (Leningrad) plus excerpts from the composer’s incidental music for King Lear.

Changes in the BSO Cello Section Regular BSO attendees will recently have noticed a significant change within the BSO’s cello section in that Martha Babcock—who led the section as Acting Principal from the beginning of this season through the performances of Bach’s B minor Mass in early Feb- ruary, and who, as Associate Principal, occupied the principal’s chair for extended periods in recent years—has, at her own request, returned to sitting within the section, where she began her BSO career nearly forty-four years ago. For the remainder of this season, BSO cellist Mihail Jojatu will occupy the principal’s chair while his colleague Sato Knudsen is on sabbatical leave. Meanwhile, auditions for the position of principal cello—left vacant by the passing of Jules Eskin this past November after a long illness—will take place during the coming months, with the aim of appointing a new section leader by the end of the current season.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” offers the opportunity to increase your enjoyment of Boston Symphony concerts by focusing on upcoming BSO repertoire in sessions that examine the composers’ individual musical styles while also illuminating aspects of musical shape and form. These free sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra take place on selected Wednesdays at Symphony Hall

week 19 bso news 7 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. from 5:30-7 p.m. (followed by a free tour of Symphony Hall) and, thanks to the generosity of an anonymous donor, on selected Sunday afternoons from 2-3:30 p.m. at locations throughout the greater Boston area. Each session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. Remaining sessions this season include “Berlioz & Dutilleux—Journeys in Sound” on Sunday, March 19, at Belmont Public Library, with Marc Mandel and BSO associate principal trumpet Thomas Siders; and “Mozart & Mahler—Speaking to the Heart” on Sunday, April 9, at Waltham Public Library and Wednesday, April 12, in Higginson Hall, with Marc Mandel and BSO horn player Rachel Childers. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Free Northeastern University Fenway Center Concerts and Community Chamber Concerts Featuring BSO Musicians The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free Friday-afternoon concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. On Friday, March 17, BSO string players Sheila Fiekowsky, Bracha Malkin, Daniel Getz, Leah Ferguson, and Mickey Katz perform music of Charles Martin Loeffler and Beethoven—a program to be repeated in the Community Chamber Concert of Sunday, March 19, at 3 p.m. in Nevins Hall in Framingham. On Sunday, March 26, at 3 p.m. in the Community Chamber Concert at Hibernian Hall in Roxbury, BSO string players Victor Romanul, Si-Jing Huang, Michael Zaretsky, and Oliver Aldort perform music of Piston and Beethoven—a program to be repeated in the Fenway Center concert of Friday, March 31, at 1:30 p.m. Tickets for the Friday-afternoon Fenway Center concert are available at tickets.neu.edu and at the door. For more information about the Fenway Center concerts, please visit northeastern. edu/camd/music. Admission to the Sunday-afternoon Community Chamber Concerts is also free, but reservations are required; please call 1-888-266-1200. For complete Com- munity Chamber Concert details, please visit bso.org and go to “Education & Community” on the home page.

Bo on Early Music Fe ival s s

n FRI, MARCH 24 || 8P8PM || NEC’s Jordan Hall, Boston Akademie für Alte Musik Berlin

Of Of FrogsFrogs andand Men:Men: NatureNature ofof thethe BaroqueBaroque ORDER TODAY! www.BEMF.org | 617-661-1812

week 19 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 . 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 Kristin and Roger Servison Fine Arts, Boston, Tenacity, Winsor School, Concert, Saturday, March 18, 2017 Japan Society of Boston, Vincent Memorial The performance on Saturday evening is Hospital, and Pioneer Institute, among others. supported by a generous gift from Great Benefactors Kristin and Roger Servison. BSO Broadcasts on WCRB Roger became a Life Trustee in 2016 and previously served on the BSO Board of Trust- BSO concerts are heard on the radio at 99.5 ees beginning in 2001. He was elected to the WCRB. Saturday-night concerts are broad- BSO Board of Overseers in 1996 and previ- cast live at 8 p.m. with host Ron Della Chie- ously served as a Vice-Chair of the Board of sa, and encore broadcasts are aired on Trustees from 2003 to 2013. Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and Kristin and Roger have been BSO subscrib- BSO musicians are available online, along ers for eighteen years; they also attend with a one-year archive of concert broad- Holiday Pops, Spring Pops, and Tanglewood casts. Listeners can also hear the BSO Con- performances. “The BSO has been such cert Channel, an online radio station consist- an important part of our lives, and we’ve ing of BSO concert performances from the enjoyed introducing our daughter to the joys previous twelve months. Visit classicalwcrb. of the Symphony through Tanglewood and org/bso. Current and upcoming broadcasts the Family Concert programs,” they have include last week’s program of Sibelius and said. Kristin and Roger have served on the Busoni with conductor Sakari Oramo and Benefactor Committee for Opening Night pianist Kirill Gerstein (encore March 20), at Pops and Symphony for many years, and this week’s program of Haydn, Debussy, and have endowed a BSO first violin chair, cur- Beethoven led by BSO Conductor Laureate rently held by Bonnie Bewick. The Servisons Bernard Haitink (March 18; encore March have also generously supported the Artistic 27), and next week’s program of Berlioz, Initiative, Immediate Impact Fund, Sympho- Beethoven, and Matthias Pintscher—the ny Annual Fund, and Opening Nights. They latter’s BSO-commissioned cello concerto un are members of the Higginson Society at the despertar (“an awakening”)—with conductor Virtuoso level, as well as the Walter Piston François-Xavier Roth and cellist Alisa Weiler- Society. Roger has served on many board stein (March 25; encore April 3). committees over the years.

Roger is the former president of Strategic Go Behind the Scenes: New Business Development of Fidelity The Irving W. and Charlotte F. Rabb Investments. He joined Fidelity in 1976 as vice president of marketing. During his forty Symphony Hall Tours years of service, Roger held such executive The Irving W. and Charlotte F. Rabb Sympho- roles as executive vice-president, managing ny Hall Tours, named in honor of the Rabbs’ director, president of Fidelity Investments devotion to Symphony Hall through a gift Retail Marketing Company, senior vice-pres- from their children James and Melinda Rabb ident of Fidelity Brokerage Services, and and Betty (Rabb) and Jack Schafer, provide senior vice-president of Fidelity Capital. a rare opportunity to go behind the scenes Roger and Kristin have been involved with a at Symphony Hall. In these free, guided number of non-profit organizations, includ- tours, experienced members of the Boston ing Historic New England, the Museum of Symphony Association of Volunteers unfold

week 19 bso news 11 12 the history and traditions of the Boston Sym- erow and violist Karen Dreyfus for music of phony Orchestra—its musicians, conductors, Shostakovich, Fauré, and Franck on Sunday, and supporters—as well as offer in-depth March 19, at 3 p.m. (pre-concert lecture at information about the Hall itself. Tours are 2 p.m.) at the Concord Academy Perform- offered on selected weekdays at 4 p.m. and ing Arts Center, 166 Main Street, Concord, some Saturdays during the BSO season. MA. Tickets are $42 and $33 (discounts for Please visit bso.org/tours for more informa- seniors and students). For more information, tion and to register. visit concordchambermusic.org or call (978) 371-9667. Join Our Community of BSO principal bass Edwin Barker performs Music Lovers— Estonian composer Eduard Tubin’s Concerto The Friends of the BSO for Double Bass and Orchestra with Francisco Noya and the New Philharmonia Orchestra Attending a BSO concert at Symphony Hall on Saturday, March 25, at 8 p.m. and Sun- is a communal experience—thousands day, March 26, at 3 p.m. at the First Baptist of concertgoers join together to hear 100 Church, 848 Beacon Street, Newton Centre. musicians collaborate on each memorable Also on the program is Tchaikovsky’s Sym- performance. Without an orchestra, there is phony No. 6, Pathétique. Tickets are $48 no performance, and without an audience, and $37 (discounts for seniors, students, it is just a rehearsal. Every single person is and families). For more information, or to important to ensuring another great expe- order tickets, call (617) 527-9717 or visit rience at Symphony Hall. There’s another newphil.org. community that helps to make it all possible, one that you might not notice while enjoying Collage New Music, founded by former BSO a concert—the Friends of the BSO. Every $1 percussionist Frank Epstein and whose mem- the BSO receives through ticket sales must bership includes BSO violinist Catherine be matched by an additional $1 of contribut- French and former BSO cellist Joel Moer- ed support to cover annual expenses. Friends schel, closes its season with a program of the BSO help bridge that gap, keeping the entitled “Heroes and Anti-Heroes,” featuring music playing to the delight of audiences all works by Donald Sur, Eric Chasalow, Yi Yiing year long. In addition to joining a commu- Chen, Peter Child, and Eric Moe, on Sunday, nity of like-minded music lovers, becoming April 2, at 8 p.m. (pre-concert talk at 7 p.m.) a Friend of the BSO entitles you to benefits at Edward M. Pickman Concert Hall at the that bring you closer to the music you cher- Longy School of Music of Bard College, 27 ish. Friends receive advance ticket ordering Garden Street, Cambridge. General admis- privileges, discounts at the Symphony Shop, sion is $30 (discounts for seniors and stu- and access to the BSO’s online newsletter dents), available at the door. InTune, as well as invitations to exclusive Joined by clarinetist Alexander Fiterstein, donor events such as BSO and Pops working the Muir String Quartet—BSO violinist Lucia rehearsals, and much more. Friends member- Lin and BSO principal violist Steven Ansell, ships start at just $100. To join our commu- violinist Peter Zazofsky, and cellist Michael nity of music lovers in the Friends of the BSO, Reynolds—performs Mendelssohn’s String contact the Friends Office at (617) 638-9276 Quartet No. 2 in A minor, Opus 13, selections or [email protected], or join online at from the Klezmer tradition, and Weber’s bso.org/contribute. Quintet in B-flat for Clarinet and Strings, Opus 34, on Monday, April 3, at 7:30 p.m. in BSO Members in Concert the Nazarian Center at Rhode Island College, 600 Mt. Pleasant Avenue, Providence. Gen- Members of the Concord Chamber Music eral admission is $35 (discounts for seniors Society, founded by BSO violinist Wendy and students). For more information, visit Putnam, are joined by violinist Glenn Dict- ric.edu/pfa or call (401) 456-8144.

week 19 bso news 13

Former BSO principal trombone Ronald Those Electronic Devices… Barron marks the 40th anniversary of a As the presence of smartphones, tablets, concert he gave as director of the Boston and other electronic devices used for com- Trombone Ensemble during 1977’s Boston munication, note-taking, and photography Sackbut Week by recreating the program has increased, there have also been continu- on Saturday, April 8, at 2:30 p.m. in Boston ing expressions of concern from concertgoers University’s Marsh Chapel, 735 Common- and musicians who find themselves distracted wealth Avenue, site of the original concert. not only by the illuminated screens on these The program includes works by Monteverdi, devices, but also by the physical movements Stoltzer, Speer, Schütz, Hingeston, Gabrieli, that accompany their use. For this reason, Massaino, Marini, and Hammerschmidt. Join- and as a courtesy both to those on stage and ing Mr. Barron will be some of the original those around you, we respectfully request participants, among them soprano Pamela that all such electronic devices be completely Wolfe and BSO assistant principal bass turned off and kept from view while BSO per- Lawrence Wolfe, along with BU faculty and formances are in progress. In addition, please student performers. Admission is free. also keep in mind that taking pictures of the BSO members Julianne Lee, violin, Mickey orchestra—whether photographs or videos— Katz, cello, John Ferrillo, oboe, and Richard is prohibited during concerts. Thank you very Ranti, bassoon, take part in the season-end- much for your cooperation. ing concert of the chamber ensemble Mis- tral, performing a program entitled “Atlantic Crossings” on Saturday, April 8, at 5 p.m. at Comings and Goings... Temple Ohabei Shalom in Brookline and on Please note that latecomers will be seated Sunday, April 9, at 5 p.m. at Temple Emanuel by the patron service staff during the first in Andover, under artistic director Julie Scol- convenient pause in the program. In addition, nik. The program includes Copland’s Appa- please also note that patrons who leave the lachian Spring in its original chamber version, auditorium during the performance will not the first Boston-area performance of Suggs’s be allowed to reenter until the next conve- chamber arrangement of Ravel’s Le Tombeau nientpause in the program, so as not to dis- de Couperin, and Schoenberg’s chamber turb the performers or other audience mem- arrangement of Strauss’s Emperor-Waltzes. bers while the music is in progress. We thank Tickets are $30 (discounts for students and you for your cooperation in this matter. seniors). For further information, call (978) 747-6222 or visit mistralmusic.org.

week 19 bso news 15 27TH ANNUAL COMPOSERS CELEBRATION SERIES

T h e R i t e o f S p r i n g

TATYANA DUDOCHKIN Founder & Artistic Director

RON DELLA CHIESA Host (WCRB)

NEC’s Jordan Hall | March 26, 8pm

FEATURING NEC FACULTY Borromeo String Quartet Tatyana Dudochkin, piano John Gibbons, harpsichord Luis Herrera, percussion Alexander Korsantia, piano Meng-Chieh Liu, piano Hank Mou, bass Sam Ou, cello Paula Robison, ﬂute

SPECIAL GUESTS Yelena Dudochkin, soprano Chen Zimbalista, percussion Maxim Mogilevsky, piano Pavel Nersessian, piano Ji-Won Song, violin Todos Dance Studio

Tickets are available at the Jordan Hall Box Ofﬁce (617) 585-1260 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 19 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 Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the summer 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’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

18 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet, and which won the 2017 Grammy for Best Orchestral Performance—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. In August 2016, their disc of Shostakovich’s Symphony No. 10 won Gramophone 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 Berlin Philharmonic, Vienna Philharmonic, 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 Metropolitan Opera, he returned to the Bayreuth Festival 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 entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 19 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 (position vacant) 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* Sato Knudsen Ruth and Carl J. Shapiro chair, Mischa Nieland chair, endowed chair, endowed in perpetuity Valeria Vilker Kuchment* in perpetuity endowed in perpetuity John Stovall* Tatiana Dimitriades* Mihail Jojatu Nancy Bracken* Thomas Van Dyck* Mary B. Saltonstall chair, Sandra and David Bakalar chair Si-Jing Huang* endowed in perpetuity Martha Babcock Wendy Putnam* flutes Aza Raykhtsaum* Vernon and Marion Alden chair, Robert Bradford Newman chair, Catherine and Paul Buttenwieser endowed in perpetuity Elizabeth Rowe endowed in perpetuity chair Principal Owen Young* Xin Ding* Walter Piston chair, endowed Bonnie Bewick* John F. Cogan, Jr., and Mary L. in perpetuity Kristin and Roger Servison chair Glen Cherry* Cornille chair, endowed in perpetuity Clint Foreman James Cooke* Yuncong Zhang* Myra and Robert Kraft chair, Donald C. and Ruth Brooks Mickey Katz* endowed in perpetuity Heath chair, endowed Stephen and Dorothy Weber in perpetuity violas chair, endowed in perpetuity Elizabeth Ostling Associate Principal Victor Romanul* Steven Ansell Alexandre Lecarme* Marian Gray Lewis chair, Ronald G. and Ronni J. Casty Principal Nancy and Richard Lubin chair endowed in perpetuity chair Charles S. Dana chair, endowed in perpetuity

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

week 19 boston symphony orchestra 21

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CommonwealthLimo.com 800-558-5466 • +1-617-787-5575 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, March 16, 8pm Friday, March 17, 8pm | the arlene m. jones memorial concert Saturday, March 18, 8pm | the kristin and roger servison concert Tuesday, March 21, 8pm

bernard haitink conducting

haydn symphony no. 60 in c, “il distratto” Adagio—Allegro di molto Andante Menuetto; Trio Presto Adagio (di Lamentatione) Finale. Prestissimo Marco Borggreve

24 debussy “nocturnes” Nuages. Modéré Fêtes. Animé et très rythmé Sirènes. Modérément animé women of the tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor

{intermission} beethoven symphony no. 7 in a, opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio

thursday evening’s performance of beethoven’s symphony no. 7 is supported by a gift from prof. ernest cravalho and dr. ruth tuomala. 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.

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, 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 19 program 25 The Program in Brief...

The evolution of the symphony in the Classical era can virtually be traced through Haydn’s hundred-plus examples, from the relatively brief, highly variable early works to the well- defined masterpieces written for his London concerts in the 1790s. The Symphony No. 60, composed in 1774 and one of the most popular during his lifetime, is a middle-period work with the nickname Il distratto (“The Scatterbrain”). Haydn regularly provided music for theatrical performances given for his employer, Prince Nikolaus Esterházy, and it was from his music for a German-language production of Jean François Regnard’s 1697 comedy Le Distrait that he assembled this symphony. (The composer’s use of the Italian title is probably due to his immersion in writing Italian opera in these years.) No. 60’s origin as incidental music is reflected in its suite-like form of six short, strongly char- acterful movements. A local newspaper notice about the production of the play noted, “[Haydn’s] masterful variety excites the admiration of experts and is nothing short of delightful for the listener.”

Claude Debussy’s three-movement suite Nocturnes underwent a long and complicated gestation between its conceptual origin in about 1892 and its completion—subject to later revision to its orchestration—in about 1899. At one stage Debussy began calling the triptych “Nocturnes,” describing it as “an experiment in the various arrangements that can be made with a single color—like the study of gray in painting.” This statement links the piece closely with “Arrangement in Black and Gray,” aka “Whistler’s Mother,” by James Whistler, whose work Debussy admired greatly. Nocturnes is three quasi- independent movements, each differently orchestrated. Nuages (“Clouds”), the composer wrote, “renders the unchanging aspect of the sky and the slow, solemn motion of the clouds.” Fêtes (“Festivals”) is bright, brassy, scherzo-like, with fanfares and the occasional fireworks display. InSirènes (“Sirens”), the longest of the three movements, the wordless women’s chorus evokes the irresistible voices of the supernatural sea dwellers who called sailors to their doom, while the orchestra depicts the ever-changing ocean itself.

Composed in 1812, four years after the premieres of his Fifth and Pastoral symphonies, Beethoven’s Seventh is irresistibly exuberant and thrilling, the thrill being enriched and tempered by the majestic spaciousness of the first movement’s slow introduction, and by the somber, stately mystery of the Allegretto second movement, which has been cel- ebrated as one of Beethoven’s most original and compelling creations since its premiere. The third-movement scherzo is joyfully wild, the theme beginning in F major and spiraling up quickly to A major (the symphony’s home key), which adds to the brightness and energy of the music. The finale, after two quick calls to attention, hurtles forward with even greater energy than the scherzo. As in the earlier movements, Beethoven uses unexpected pauses and abrupt changes in dynamics and orchestration to provide contrast and escalate anticipation. This masterful symphony, a perennial favorite, was called by Richard Wagner “the apotheosis of the dance,” a description that few, if any, have managed to improve upon when writing about this ecstatic whirlwind of a piece.

Robert Kirzinger

26 Joseph Haydn Symphony No. 60 in C, “Il distratto”

FRANZ JOSEPH HAYDN was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He derived this symphony about 1775 from incidental music he wrote, probably the year before, for a production at Eszterháza of a German translation of Jean-François Regnard’s play “Le Distrait”; in the sources, the symphony is sometimes called by its German title, “Der Zerstreute,” and sometimes by its Italian counterpart, “Il distratto.” There is no specific information about the symphony’s early performance history.

THE SCORE OF HAYDN’S SYMPHONY NO. 60 calls for two oboes, two horns, two trumpets, timpani, and strings.

To begin looking at Joseph Haydn’s Symphony No. 60, called Il distratto (“The Scatter- brain”), we have to observe that a program note for one of his symphonies is more or less obliged to say that from early on he has sported the label “father of the symphony,” and likewise of the string quartet. This is because Haydn, with the help of his young colleague Mozart, picked up both as relatively lightweight genres and left them as respectively the king of instrumental works and the king of chamber works. Haydn created, in other words, the symphony and quartet as we understand them, and as young Beethoven understood them when he took them up.

The position of the symphony in the middle of the 18th century is implied by one German writer of the time who called them “a necessary evil” in one of the long, grab-bag, private concerts of the day. You have to start with something he said, and even if a symphony is one of the less meaty items on a program, at least it gets listeners’ attention for the more important concertos and arias and so on to come. Outside German lands in the later part of the century, though, especially in London and Paris, there was a bur- geoning public concert life in which symphonies were central to the enterprise. It was when Haydn went to London toward the end of his life that he took the last step in his long evolution as a symphonist.

week 19 program notes 27 Program page for the first Boston Symphony Orchestra performance of Haydn’s Symphony No. 60 on July 9, 1972, at Tanglewood, with Seiji Ozawa conducting (BSO Archives)

28 For Haydn’s one-time pupil Beethoven, symphonies became a primary focus, and in them he traveled in nine radically different directions in works that sometimes took him years to finish. Haydn produced some 106 symphonies, and for him they were a labor of weeks, not years. Most of them were written for the small palace orchestras of his employers, the Hungarian princes of Esterházy. These symphonies were largely under twenty-five minutes in length; movements might be scattered through a program.

What is remarkable about Haydn’s splendid middle symphonies is how under those circumstances he still brought to them so much variety, imagination, and experimenta- tion. Beethoven’s symphonies are each intensely individual. Haydn’s evolution came in waves of works given to a similar atmosphere or train of thought. The C major Sym- phony No. 60 comes in the middle of a group of nineteen symphonies that are often called his Sturm und Drang set—though No. 60 is not numbered among them. To understand why not, let’s look at a bit of history of the literary Sturm und Drang (“Storm and Stress”) movement from around the 1770s.

Sturm und Drang was a kind of convulsion in the middle of the Age of Reason, a prophecy of the Romantic movement of the next century, with its emphasis on the sublime, the great and terrible, the demonic genius, the exotic and irrational. Sturm und Drang was named after a Friedrich Maximilian Klinger play of that name. The action begins in a whirlwind: “Cheers! In tumult and uproar again, so the senses whirl around like weather- vanes in a storm. The wild noise has thundered into me such a feeling of well-being

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For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston A 1770 engraving of Haydn’s employer, Prince Nikolaus Esterházy

that I really begin to feel a little better.... Mad heart!... Refresh yourself in confusion!” Other examples include Friedrich Schiller’s play The Robbers, at the bloody conclusion of whose premiere women were fainting and men screaming.

Haydn was not given to violence in his music, but the atmosphere of his Sturm und Drang works is dark, passionate, unpredictable, sometimes eccentric. A number are in minor keys, which at the time were used in only a minority of pieces. An example is his Symphony No. 44 in E minor, called Trauersymphonie (“Mourning-Symphony”) for its shadowed and intense character—three of its movements are in minor.

Simply put, Symphony No. 60 in C major, from around the end of 1774, is not counted among those works because it is in a major key and its ambience is comic rather than fiery or tragic. It does, however, have echoes ofSturm und Drang—it is puckish, quirky, weird at times, and in one moment of the finale it’s downright outlandish. Except for the overall mood of No. 60, which came from its theatrical origin, these are all characteris- tic of the surrounding symphonies.

No. 60 has six movements, unusual in itself, mainly resulting from the fact that the piece was assembled from music Haydn produced for an originally French stage comedy called Le Distrait. The title got Italianized and applied to the symphony, which we Mahler’s No. 4 or Mozart’s No. 40? know as Il distratto. Haydn was highly experienced in writing opera. The Esterházy At Fairmont Copley Plaza, we appreciate palace was an important center for opera in its time, and for much of his career Haydn considered himself primarily an opera composer. (It was the arrival of Mozart on the all our guests’ preferences. scene that revealed to him otherwise.) So when Haydn wrote theater music he put on his theater cap, distinctly different from his usual symphonic personality. its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of In general, Symphony No. 60 is the sort of thing one would expect to accompany a www.fairmont.com/copley-plaza-boston week 19 program notes 31 comedy—energetic, antic, at times transgressive. The scoring is for the typical mid-Classical group of two oboes, two horns, and strings, plus trumpets and timpani. The first movement begins with a mock-serious introduction, then launches into a lively Allegro that seems respectable enough until the second theme, in which the music gets stuck on a chord and drifts off into silence, as if losing its train of thought, then shakes itself awake.

The middle movements feature various shades of irony. In the second, a tender tune is interrupted by pompous and inexplicable fanfares. Just before the development section a parody of a French folk song intrudes; not for the last time, the piece jumps around in styles. For third movement there is a stately minuet, but its Trio lurches between fateful and folksy, once again getting stuck on a chord. The fourth movement explodes in a C minor furioso, based on Balkan folk tunes, which seems too indignant for its own good.

Perhaps the gem of the symphony is the fifth movement, featuring a gently lyrical and very pretty theme that is marked as a lamentation. But it’s a lamentation with tongue in cheek; in the middle it’s overrun by rowdy fanfares. The movement ends with some goofy roulades, first slow and then suddenly fast, until a non-ending where it seems just to run out of breath. The finale is a noisy, quasi-triumphant minute and a half, with one major blooper. Somehow the violins appear to have gotten their G strings mistuned down to F, so in the second line the music simply stops while the violins re-tune. The effect is bizarre and hilarious.

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

ALL PREVIOUS BSO PERFORMANCES OF HAYDN’S SYMPHONY NO. 60 were led by Seiji Ozawa: first on July 9, 1972, at Tanglewood; then in a Pension Fund Concert in February 1976; in the work’s only previous BSO subscription performances, in February 1976, followed by European tour performances that February and March in Brussels, Vienna, Berlin, Hamburg, Bonn, Hannover, and Paris; and the most recent BSO performance, at Tanglewood on July 25, 1986.

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ACHILLE-CLAUDE DEBUSSY was born at St. Germain-en-Laye, France, on August 22, 1862, and died in Paris on March 25, 1918. His three Nocturnes, which went through an extended genesis described below, were composed during the 1890s, reaching more or less their present form between 1897 and 1899. Debussy later made substantial revisions in the orchestration, particularly in “Fêtes” and “Sirènes”; the work is now performed according to the revised score, which was published posthumously in 1930. “Nuages” and “Fêtes” were first performed at the Concerts Lamoureux in Paris on December 9, 1900, Camille Chavillard conducting. The same performers premiered the complete set of three pieces on October 27, 1901.

“NUAGES” (“Clouds”) is scored for two flutes, two oboes, English horn, two clarinets, three bassoons, four horns, timpani, harp, and strings. “FÊTES” (“Festivals”) is scored for three flutes, two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets in F, three trombones, tuba, two harps, timpani, cymbals, snare drum, and strings. “SIRÈNES”(“Sirens”) is scored for three flutes, oboe, English horn, two clarinets, three bassoons, four horns, three trumpets in F, two harps, wordless female chorus, and strings.

The first performance of thePrélude à l’Après-midi d’un faune in 1894 had made Debussy instantly famous. By the date of that performance he had already embarked on his next major orchestral work, the Nocturnes, which, with Pelléas et Mélisande, were to occupy his attention for the rest of the 1890s. It seems that the Nocturnes went through at least two early versions before resulting in the music we know today, although Debussy’s manuscripts for the earlier versions—if they were ever written out—no longer exist. As early as 1892, when Debussy was planning a tour of the United States (which never took place), he wrote to his patron Prince Poniatow ski that the work he was planning to introduce during the tour, Trois Scènes au crépuscule (“Three Scenes at Twilight”), was “almost finished, that is to say that the orchestration is entirely laid out and it is simply a question of writing out the score.” This work was based on the poem “Scènes au crépuscule” by Debussy’s friend Henri de Régnier, a close associate

week 19 program notes 35 Program page for the first complete Boston Symphony performance of Debussy’s “Nocturnes” on December 12, 1908, with Max Fiedler conducting, and the Choral Club of the New England Conservatory of Music (BSO Archives)

36 of Mallarmé. Since the music of this version does not survive at all, it is impossible to compare it to the final work, but it is worth noting that one of the poems involved the imagery of flutes and trumpets that might have inspiredFêtes , and a reference to a female choir might have motivated the inclusion of the wordless women’s voices in Sirènes.

Be that as it may, the first appearance of the actual titleNocturnes in Debussy’s work comes in a letter written late in 1894 to the great Belgian violinist Eugène Ysaÿe, to whom the composer wrote: “I am working on three Nocturnes for violin and orchestra that are intended for you. The first is scored for strings; the second for three flutes, four horns, three trumpets, and two harps; the third is a combination of both these groups.... This is, in fact, an experiment in the various arrangements that can be made with a single color—like the study of gray in painting.”

Debussy greatly admired a series of paintings entitled “Nocturnes” by the American artist Whistler, and the musical title could well have been suggested by that connection. Moreover, the composer’s reference to “the study of gray in painting” recalls Whistler’s most famous work, known popularly as “Whistler’s Mother,” but called by the artist “Arrange ment in Black and Gray.” He was also familiar with the work of other Impres- sionists—Gauguin, Renoir, Pissarro, and Sisley—and he was es pecially fond of Turner.

Two years later Debussy again wrote to Ysaÿe, requesting that he defer the performance of the Nocturnes until he could give it in Brussels. This would suggest not only that a full score for the violin-and-orchestra version existed at that time, but also that Ysaÿe had seen it, though no one else has ever managed to put hands on the manuscript. If such a score does exist, its rediscovery would be a wonderful contribution to our knowledge of Debussy’s musical thought. In any case, between 1897 and 1899 Debussy completely recast the work into its present form.

Debussy’s comment likening his music to “the study of gray” fits best withNuages (“Clouds”), one of his most personal musical expressions. The subdued orchestral colors and dynamics (mostly piano and pianissimo, with only two forte passages, each lasting only a measure or two) hold the music within carefully prescribed limits. The spare opening gesture in clarinets and bassoons—alternating open fifths with thirds— grows and intensifies in the divided string parts, while the English horn solo interpolates a chromatic figure that outlines a diminished fifth. This English horn figureeeps k reap- pearing, virtually without change, like a solid object around which the clouds float and swirl. Debussy himself wrote a program for the movement in which he said, “Nuages renders the unchanging aspect of the sky and the slow, solemn motion of the clouds, fading away in gray tones lightly tinged with white.”

The clouds have dispersed for the second movement, Fêtes (“Festivals”). Debussy is supposed to have said that he was inspired by the merrymaking in the Bois de Boulogne, although the brilliant processions through Paris at the time of the Franco-Russian al liance, signed in 1896, probably played a part in the final conception of the music, with its fan-

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Debussy’s fascination with the sea constantly resurfaces in his music, from the third Nocturne, called Sirènes (“Sirens”), to certain passages in Pelléas et Mélisande, and culminating in the great sea symphony, La Mer. Sirènes is music of iridescent color, of decoration without themes in the normal sense, of fluid rhythmic interplay. Literary in spiration may have come either from a poem of Henri de Régnier (L’Homme et la sirène) or from one of Swinburne (Nocturne); both poems deal with mermaids and the effects of their love on mortals. The instrumental use of the women’s chorus, singing wordlessly, evokes the song of these sirens from the ocean’s depths.

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

THE FIRST AMERICAN PERFORMANCE OF DEBUSSY’S “NOCTURNES” took place in Boston on February 10, 1904, in a Chickering Production concert conducted by B.J. Lang.

THE FIRST COMPLETE BOSTON SYMPHONY PERFORMANCES OF “NOCTURNES” were given by Max Fiedler in December 1908, with the Choral Club of the New England Conservatory of Music, though Vincent d’Indy had already led the BSO in “Nuages” and “Fêtes” in December 1905. Subsequent BSO performances of the “Nocturnes” (complete or in part) were given by Ernst Schmidt (“Nuages,” performed in Debussy’s memory the week after his death), Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Albert Stoessel, Richard Burgin, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Claudio Abbado, Sergiu Comissiona, Sir Colin Davis, Joseph Silverstein, Charles Dutoit (the most recent Tanglewood performance of the complete set, on August 9, 1992, with the women of the Tanglewood Festival Chorus, John Oliver, conductor), Seiji Ozawa, Bernard Haitink (first in March 1990 with the New England Conservatory Women’s Chorus, Tamara Brooks, director; more recently in November 2009, with the women of the Tanglewood Festival Chorus, John Oliver, conductor, those being the most recent complete subscription performances), and Robert Spano (the most recent subscription performances of “Nuages” and “Fêtes” as a pair).

week 19 program notes 39 ©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 . Ludwig van Beethoven Symphony No. 7 in A, Opus 92

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. He began his Symphony No. 7 in the fall of 1811, completed it on April 13, 1812, and led the first performance on December 8, 1813, in the auditorium of the Univer sity of Vienna. THE SYMPHONY IS SCORED for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

By 1812 much had changed in Beethoven’s life and career since the extraordinary period between 1802 and 1809, when he produced a flood of masterpieces perhaps unprece- dented in the history of music. In 1809, however, around the time of the premiere of the Fifth and Sixth symphonies, this stupendous level of production abruptly fell off. Though there was much extraordinary music to come, Beethoven never again composed with the kind of fury he possessed in the first decade of the century.

What happened? Beethoven was increasingly ill and his bad hearing getting worse. However, given his ability to transcend physical misery, it is more likely that his decline in production came from expressive quandaries. He had begun to sense that the train of ideas that had sustained him through the previous decade was close to being played out. He had to find something new.

It is in the Seventh and Eighth symphonies that we see the turn toward the third period taking shape. In the Seventh Beethoven put aside for good the heroic model of the Third and Fifth symphonies, but he had not yet arrived at the inward music of the late works.

If not heroic or sublime, then what for the Seventh? A kind of Bacchic trance, dance music from begin ning to end. Wagner called it “the apoth eosis of the dance.” But the Seven th dances unlike any sym phony before: it dances wildly and relentlessly, dances almost heroically, dances in obsessive rhythms whether fast or slow. Nothing as deco-

week 19 program notes 41 Program page for the first Boston Symphony Orchestra performance of Beethoven’s Symphony No. 7 on February 4, 1882, during the BSO’s inaugural season, with Georg Henschel conducting (BSO Archives)

42 rous as a minuet here; it’s rather shouting horns and skirling strings (skirling being what bagpipes do).

The symphony’s expansive and grandiose introduction strikes a note at once appropri- ate and mis leading: the fast dance that eventually starts out from it seems something of a surprise. But from the introduction’s slow-striding opening theme many other mel- odies will flow. Above all the introduction defines the symphony in its harmonies: wan- dering without being restless so much as brash and audacious, with a tendency to leap nimbly from key to key by nudging the bass up or down a notch. And the introduction defines key relationships to be thumb prints of late Bee tho ven: around the central key of A major he groups F major and C major, keys a third up and a third down. That group of keys will persist through the symphony, just as D and B-flat persist in the Ninth.

2016-17

Our upcoming APRIL concerts Salem Time Regained Friday Evenings Salem 4/21 8:00 Brookline 4/23 3:00 at 8:00 In Historic Quartet for the Hamilton Hall Messiaen End of Time Brookline Piano Quintet in A, Sunday Afternoons Schubert D. 667, “The Trout” at 3:00 In Beautiful St. Paul’s Church Sharan Leventhal – violin, Jessica Bodner – viola, Jonathan Miller – cello, Edwin Barker – bass, Thomas Hill – clarinet, Randall Hodgkinson – piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

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44 A pencil drawing of Beethoven by Ludwig Schnorr von Carolsfeld, c.1810

With a coy transition from the introduction, we’re off into the first-movement Vivace, quietly at first but with rapidly mounting intensity. The movement is a titanic gigue. Its dominant dotted rhythmic figure is as relentless as the Fifth Sym phony’s famous figure, but here the effect is mesmerizing rather than fateful. Rhythm plays a more central role than melody here, though there is a pretty folk tune in residence. More, though, the music is engaged in quick changes of key in startling directions, everything propelled by the rhythm. From the first time you hear the symphony’s outer movements, meanwhile, you never forget the lusty and rollicking horns.

Nor are you likely to forget the first time you hear the stately and mournful dance of the second movement, in A minor. It has been an abiding hit and an object of near- obsession since its first performances. The idea is a process of intensification, adding layer on layer to the inexorably marching chords (with their poignant chromaticism that Ger mans call moll-Dur, minor-major). Once again, in a slowish movement now, the music is animated by an irresistible rhythmic momentum. For contrast comes a sweet, harmonically stable B section in A major (plus C, a third up). Rondo-like, the opening theme returns twice, lightened, turned into a fugue, the last time serving as coda.

The scherzo is racing, eruptive, giddy, its main theme beginning in F major and ending up a third in A, from one flat to three sharps in a flash. We’re back to brash shifts of key animated by relentless rhythm. The Trio provides maximum contrast, slowing to a kind of majestic dance tableau, as frozen in harmony and gesture as a painting of a ball. The Trio occurs twice and jokingly feints at a third time before Beethoven slams the door.

The purpose of the finale seems to be, amazingly, to ratchet the energy higher than it has yet been. If earlier we have had exuberance, brilliance, stateliness, those moods of dance, now we have something on the edge of delirium, in the best and most intoxicat-

week 19 program notes 45 ONE DAY UNIVERSITY® at Tanglewood register Sunday, August 27, 2017 today! at general registration: $159 One Day University, the acclaimed lifelong learning series, returns to Tanglewood for its seventh season. Join three award-winning event schedule for august professors as they each present their best lecture in Ozawa Hall. 27, 2017 Then join Andris Nelsons and the BSO for the 2017 season finale

• lectures take place in ozawa hall • performance of Beethoven’s Ninth Symphony. 9:30–9:35 am Introduction 9:35–10:35 am LOUIS MASUR, Understanding America Through Three Remarkable Photographs Rutgers University Louis Masur, Distinguished Professor of American Studies and History Rutgers University 10:35–10:45 am Break From its introduction in 1839, photography has transformed the ways in 10:45–11:45 am JEFFREY ROSEN, which we see the world. Photographs capture events and also transform them; George Washington they depict reality but tell a story. Professor Masur will examine the historical University context and content of three powerful images that have shaped American Break society and culture: Joe Rosenthal’s Flag Raising on Mt. Suribachi (1945); 11:45 am–12 pm Stanley Forman’s Pulitzer Prize-winning The Soiling of Old Glory (1976) and 12 pm–1 pm CRAIG WRIGHT, Thomas Franklin’s Raising the Flag at Ground Zero (2001). Yale University The Supreme Court: An Inside View • koussevitzky music shed • Jeffrey Rosen, Professor of Law, George Washington University 2:30 pm President, National Constitution Center Boston Symphony Orchestra Beginning in 1802 with the Landmark case with Marbury v. Madison, the Andris Nelsons, conductor Supreme Court has ruled on groundbreaking cases that have altered the course Katie Van Kooten, soprano of American history. Professor Rosen, one of the top experts on Constitutional Tamara Mumford, mezzo-soprano issues, will take us inside the Supreme Court, exposing little known facts and Russell Thomas, tenor covering the Court’s history, structure, and operation. Professor Rosen will John Relyea, bass-baritone also highlight major cases, where the Court might be headed next, and how IVES “The Housatonic at Stockbridge” from the interactions and personalities of the individual justices have created the Three Places in New England institution that we know today. BEETHOVEN Symphony No. 9

Registration includes: Music and the Brain: Why We Like What We Like Craig Wright, Professor of Music • All three professor presentations Yale University • One complimentary lawn Why do we listen to music? What does it do for us? Professor Wright will admission to the 2:30pm BSO introduce you to the reception, processing, and emotional response to music concert, or a 10% discount on a that we all experience in the brain, each in our own way. We have done this Shed ticket* since birth, but is our response to music natural and universal, or is it cultural, • VIP Parking a reflection of where we grew up and the kind of music that we heard at home? Professor Wright will also discuss how the music of different genres and • 10% off 8/27 Meals-to-Go composers may be processed differently in the brain, country music one way, rock in another, and classical music in yet another.

To register or for more information, call 888-266-1200 or visit us online at: tanglewood.org/onedayu

ONE DAY UNIVERSITY at Tanglewood • 888-266-1200 • tanglewood.org/onedayu

*One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. One Day University is a federally registered trademark of Educational Media LLC. It is not a degree granting institution and its programs are not offered for credit. ing way: stamping and whirling two-beat fiddling, with the horns in high spirits again. Does any other symphonic movement sweep you off your feet and take your breath away so nearly literally as this one?

The Seventh was premiered in December 1813 as part of the ceremonies around the Congress of Vienna, when the aristocracy of Europe gathered with the intention of turning back the clock to before Napoleon. Beethoven would despise the reactionary results of the Congress, but that was in the future; he was glad to receive its applause. The premiere of the Seventh under his baton was one of the triumphant moments of his life. For the first of many times, the slow movement had to be encored. The orchestra was fiery and inspired, suppressing their giggles at the composer’s antics on the podi- um. In loud sections (the only ones he could hear) Beethoven launched himself into the air, arms windmilling as if he were trying to fly; in quiet passages he all but crept under the music stand. The paper reported from the audience “a general pleasure that rose to ecstasy.”

It’s true that another piece premiered on the program, Beethoven’s trashy and opportu- nistic Wellington’s Victory, got more applause and in the next years more performances. But for the moment he was not too proud to bask a little, pocket the handsome proceeds, perhaps to enjoy with a sardonic laugh the splendid success of the bad piece and the merely bright prospects of the good one. The Seventh after all celebrates the dance, which lives in the ecstatic and heedless moment.

Jan Swafford

THE FIRST AMERICAN PERFORMANCE of Beethoven’s Symphony No. 7 was given by Ureli Corelli Hill with the New York Philharmonic Society on November 18, 1843. The symphony reached Boston a week later, on November 25, 1843, when Henry Schmidt conducted the Academy of Music at the Odeon.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Beethoven’s Seventh Symphony was given by Georg Henschel on February 4, 1882, during the orchestra’s first season, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Henri Rabaud, Serge Koussevitzky, Richard Burgin, Leonard Bernstein, Charles Munch, Erich Leinsdorf, Leopold Stokowski, Antál Dorati, William Steinberg, Michael Tilson Thomas, Eugen Jochum, Edo de Waart, Colin Davis, Seiji Ozawa, Joseph Silverstein, Klaus Tennstedt, Kurt Masur, Stanislaw Skrowaczewski, Charles Dutoit, Stuart Challender, Roger Norrington, Robert Spano, Christoph Eschenbach, Bernard Haitink, James DePreist, André Previn, Rafael Frühbeck de Burgos, James Levine, David Robertson, Jens Georg Bachmann, Lorin Maazel, Jaap van Zweden, Bramwell Tovey, Itzhak Perlman, Andris Poga, Edward Gardner, Herbert Blomstedt (the most recent subscription performances, in March 2016), and Andris Nelsons (the most recent Tanglewood performance, on July 30, 2016).

week 19 program notes 47

To Read and Hear More...

The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon. Symphony No. 60 is dis- cussed in Volume II, “Haydn at Eszterháza, 1766-1790” (Indiana University Press). A useful single-volume source on Haydn and his music is Haydn, edited by David Wyn Jones, in the short-lived series “Oxford Composer Companions” (Oxford University Press). Jones also provided the chapter on “The Symphonies of Joseph Haydn” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). James Webster’s Haydn entry from the 2001 New Grove Dictionary of Music and Musicians was published separately as The New Grove Haydn (Oxford paperback). Jens Peter Larsen’s entry from the 1980 edition of Grove was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes’s Haydn in the “Master Musicians” series (Littlefield paperback). If you can track down a used copy, László Somfai’s copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer’s life, work, and times (Taplinger).

Complete modern-orchestra sets of the Haydn symphonies at a reasonable price include Adám Fischer’s with the Austro-Hungarian Haydn Orchestra (Brilliant Classics) and Dennis Russell Davies’s with the Stuttgart Chamber Orchestra (Sony). Period- instrument cycles were recorded by Christopher Hogwood with the Academy of Ancient Music (Oiseau-Lyre) and Roy Goodman with the Hanover Band (Helios). A good single- disc option for the Symphony No. 60 is Nicholas Ward’s recording with the Northern Chamber Orchestra (budget-priced Naxos).

Edward Lockspeiser’s Debussy: His Life and Mind, in two volumes, is the standard study of the composer (Macmillan). Roger Nichols’s The life of Debussy is in the useful series “Musical lives” (Cambridge paperback). Also from Nichols is Debussy Remembered, a 2003 anthology drawing upon recollections from various friends, colleagues, and acquaintances of the composer (Amadeus Press). Victor Lederer’s Debussy: the Quiet Revolutionary, a close look at the composer’s musical style and output, is accompanied by a CD that is specifically referenced in Lederer’s discussion of the music (also Ama- deus Press). Still important for its wealth of contemporary documentation is Léon Val- las’s Claude Debussy: His Life and Works, translated from the French by Maire and Grace O’Brien and published originally in 1933 (Dover paperback). Also useful are David Cox’s Debussy Orchestral Music in the series of BBC Music Guides (University of Washington

week 19 read and hear more 49 “ First Republic shares our passion for innovation and world-class performance.”

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(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender paperback), Marcel Dietschy’s La Passion de Claude Debussy, edited and translated—as A Portrait of Claude Debussy—by William Ashbrook and Margaret G. Cobb (Oxford), and two collections of essays: Debussy and his World, edited by Jane F. Fulcher (Prince- ton University paperback), and The Cambridge Companion to Debussy, edited by Simon Trezise and Jonathan Cross (Cambridge University Press).

Bernard Haitink recorded Debussy’s Nocturnes with the Concertgebouw Orchestra of Amsterdam (Philips). The Boston Symphony Orchestra recorded the three Nocturnes with Pierre Monteux in 1955 (RCA), with Claudio Abbado in 1970 (Deutsche Grammo- phon), and with Colin Davis in 1982 (Philips). Charles Munch recorded Nuages and Fêtes with the BSO in 1962 (RCA). Other recordings of the three Nocturnes include Pierre Boulez’s with the Cleveland Orchestra (Deutsche Grammoohon), Stéphane Denève’s with the Royal Scottish National Orchestra (Chandos), Charles Dutoit’s with the Mon- treal Symphony (Decca), Rafael Frühbeck de Burgos’s with the London Symphony Orches- tra (Musical Concepts), and Jean Martinon’s with the ORTF National Orchestra (EMI).

Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Full-scale modern biographies include Jan Swafford’s recent Beethoven: Anguish and Triumph; Maynard Solomon’s Beethoven (Schirmer paperback), and Barry Cooper’s Beethoven in the “Master Musicians” series (Oxford University Press). Also noteworthy are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage

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Proudly Offered by Northland Residential Corporation, Developer of Exceptional Properties Throughout New England For Over 45 Years paperback), Richard Osborne’s chapter on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback), Lewis Lockwood’s new Beethoven’s Symphonies: An Artistic Vision (Norton, published last month), and Lockwood’s Beethoven: The Music and the Life (Norton paperback). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Michael Steinberg’s program notes on all nine Beethoven symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the symphonies are among his Essays in Musical Analysis (Oxford). Still worth investigating among much older books are George Grove’s classic Beethoven and his Nine Symphonies, now more than a century old (Dover paperback), and J.W.N. Sulli- van’s Beethoven: His Spiritual Development, published in 1927 but still fascinating and thought-provoking not only as a reflection of its time but for what’s relevant ot our own (Vintage paperback).

Bernard Haitink has recorded Beethoven’s nine symphonies live with the London Sym- phony Orchestra (LSO Live). The Boston Symphony Orchestra recorded a complete Beethoven symphony cycle with Erich Leinsdorf between 1962 and 1969 for RCA; the recording of No. 7 is from 1966. The finale of the Beethoven Seventh figured in the BSO’s very first recording sessions, under Karl Muck in 1917 (reissued on BSO Classics). Charles Munch recorded Beethoven’s Seventh with the BSO for RCA in 1949 (his first recording as BSO music director). Leonard Bernstein’s BSO performance from the very last concert he ever conducted, in August 1990 at Tanglewood, was issued on CD not long after (Deutsche Grammophon). In addition, an October 1970 BSO telecast of the Beethoven Seventh from Symphony Hall with William Steinberg conducting is available on DVD (ICA Classics). Noteworthy Beethoven symphony cycles of varying vintage also include (alphabetically by conductor) Claudio Abbado’s with the Berlin Philharmonic (Deutsche Grammophon), Daniel Barenboim’s with the West-Eastern Divan Orchestra (Decca), John Eliot Gardiner’s with the period-instrument Orchestre Révolutionaire et Romantique (Deutsche Grammophon Archiv), Nikolaus Harnoncourt’s with the Chamber Orchestra of Europe (Warner Classics), Philippe Herreweghe’s with the Royal Flemish Philharmonic (PentaTone), Christian Thielemann’s with the Vienna Philharmonic (Sony), and Osmo Vänskä’s with the Minnesota Orchestra (BIS). Historic recordings include studio and live renditions of the nine symphonies under the direction of Wilhelm Furtwängler with the Berlin Philharmonic and Vienna Philharmonic and Arturo Toscanini mainly with the NBC Symphony Orchestra (various labels).

Marc Mandel

week 19 read and hear more 53 familymatters

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goulstonstorrs.com Guest Artists

Bernard Haitink

Bernard Haitink’s conducting career began sixty-two years ago with the Radio Philharmonic Orchestra in his native Holland. He went on to be chief conductor of the Concertgebouw Orchestra for twenty-seven years, as well as music director of Glyndebourne Festival Opera and the Royal Opera–Covent Garden, and principal conductor of the London Phil- harmonic, Staatskapelle Dresden, and Chicago Symphony Orchestra. He was appointed principal guest conductor of the Boston Symphony Orchestra in 1995 and since 2004 has been the BSO’s LaCroix Family Fund Conductor Emeritus. He is also Patron of the Radio Philharmonic and an honorary member of both the Berlin Philharmonic and the Chamber Orchestra of Europe. The year 2016 marked the 50th anniversary of Mr. Haitink’s first appearance at both the BBC Proms and the Lucerne Festival. These occasions were cel- ebrated with the London Symphony Orchestra at the Proms, and with both the Lucerne Festival Orchestra and the Chamber Orchestra of Europe in Lucerne. He also toured with the European Union Youth Orchestra, of which he is Conductor Laureate, marking the 40th anniversary of its founding. His 2016-17 season began with the Berlin Philharmonic and has seen him continuing his close associations with the Bavarian Radio Symphony, the London Symphony Orchestra, the Chamber Orchestra of Europe, Tonhalle Orchestra Zurich, Chicago Symphony Orchestra, and Boston Symphony Orchestra. In addition he has return engagements with Orchestre National de France, Orchestra Mozart, and the Royal Concertgebouw Orchestra, and conducts Beethoven’s Missa Solemnis with the orchestra and chorus of La Scala, Milan. Committed to the development of young musical talent, Maestro Haitink gives an annual conducting master class at the Lucerne Easter

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Festival. This season, in addition, he gives conducting classes to students of Zurich’s Hochschule der Künste and leads performances with the orchestra of the Royal College of Music. Bernard Haitink has an extensive discography for Philips, Decca, and EMI, as well as on many new live recording labels established by orchestras themselves in recent years, such as the London Symphony, Chicago Symphony, and Bavarian Radio Symphony. He has received many awards and honors in recognition of his services to music, including several honorary doctorates, an honorary Knighthood and Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. Bernard Haitink made his Boston Symphony Orchestra debut in February 1971. Besides concerts in Boston, he has led the orchestra at Tanglewood (where he appeared for the first time in 1994 and most recently in August 2013, when he led music of Mozart, Mahler, and the BSO’s traditional season-ending performance of Beethoven’s Ninth), Carnegie Hall (most recently in February 2014, repeating his two BSO subscription programs of that season), and on a 2001 tour of European summer music festivals. For his most recent BSO appear- ances he led the final subscription program of last season, conducting Beethoven’s Piano Concerto No. 4 with soloist Murray Perahia and Mahler’s Symphony No. 1. His recordings with the BSO include music of Brahms (including the four symphonies) and Ravel on Philips, and Brahms’s Piano Concerto No. 2 with soloist Emanuel Ax on Sony.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate Lidiya Yankovskaya, Guest Chorus Conductor

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 Nel- sons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Originally formed

week 19 guest artists 57 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. In February 2017, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the new position of BSO Choral Director.

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 latter 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, 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

week 19 guest artists 59 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 Inter- national 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 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

60 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. This past fall, Ms. Yankovskaya prepared the Tanglewood Festival Chorus for October’s performances under Andris Nelsons of Brahms’s Ein deutsches Requiem. She has also prepared the chorus for this month’s BSO performances of Busoni’s Piano Concerto and Debussy’s Nocturnes.

Women of the Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate Lidiya Yankovskaya, Guest Chorus Conductor 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

Lauren A. Boice • Joy Emerson Brewer • Anna S. Choi • Emilia DiCola • Christine Pacheco Duquette* • Jodie-Marie Fernandes • Kaila J. Frymire • Jean Grace • Alyssa Hensel • Donna Kim # • Barbara Abramoff Levy § • Farah Darliette Lewis • Laurie Stewart Otten • Livia M. Racz # • Johanna Schlegel • Dana R. Sullivan • Jessica Toupin • Wanzhe Zhang • Meghan Renee Zuver

mezzo-sopranos

Martha Reardon Bewick • Betsy Bobo • Janet L. Buecker • Barbara Naidich Ehrmann # • Dorrie Freedman § • Lianne Goodwin • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston* • Louise-Marie Mennier • Andrea Okerholm Huttlin • Maya Pardo • Roslyn Pedlar # • Anne K. Smith • Julie Steinhilber* • Celia Tafuri • Karen Thomas Wilcox

Martin Amlin, Rehearsal Pianist Jennifer Dilzell, Chorus Manager

week 19 guest artists 61

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63 The Great Benefactors

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

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

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • 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 • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

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

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

Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • 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 ‡ • Elizabeth W. and John M. Loder • 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 ‡ • 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 • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)

‡ Deceased

week 19 the great benefactors 65 ONE LIBERTY SQUARE

BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 The Walter Piston Society

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer, at (617) 638-9274 or [email protected]. ‡ This symbol denotes a deceased donor.

everett l. jassy, co-chair, planned giving committee robert j. mayer, co-chair, planned giving committee

Mark and Stephanie Abrams • Sonia S. Abrams • Ms. Suzanne Abramsky • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Ms. Nancy Amstutz • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Henry W. D. Bain • Mr. Sherwood E. Bain • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Stephen Barrow and Janis Manley-Barrow • Rose Basile • John and Molly Beard • Carol Beck • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo ‡ Beranek • Deborah Davis Berman • George and Joan Berman • Roz and Wally Bernheimer • Leonard and Jane Bernstein • Roberta Berry • Mr. Roger Berube • Mrs. Ben Beyea ‡ • Mrs. Philip W. Bianchi ‡ • Mrs. Stanton L. Black • Joan T. Bok • Mr. Carl G. Bottcher • Mr. John M. Bradley • Carol and Bob Braun • Karen M. Braun • Jan Brett and Joseph Hearne • William E. Briggs • Peter and Anne ‡ Brooke • Phyllis Brooks • Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Bonnie and Terry Burman • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • Barbara S. and Frederic M. Clifford • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Edwin and Myrtle Cox • Ann Denburg Cummis • Joan P. and Ronald C. Curhan • William D. Curtis • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Eda Daniel • Peggy Daniel • Eugene M. Darling, Jr. • Mr. Nelson J. Darling, Jr. • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Richard Dixon and Douglas Rendell • Dr. Ruth Dlugi-Zamenhof and Dr. Robert Zamenhof •

week 19 the walter piston society 67 2016-2017 Season | Subscription Series: Classics II

Francisco Noya, TUBIN & Music Director TCHAIKOVSKY

Saturday Sunday March 25 March 26 Vignieri 8:00pm 3:00pm An American Hymn First Baptist Church Tubin in Newton Center Double Bass Concerto Adult tickets from $37 Edwin Barker, double bass Senior tickets from $34 Student tickets $10 Tchaikovsky Symphony No. 6 newphil.org 617-527-9717

New Philharmonia Orchestra is a member of the Newton Cultural Alliance. www.newtonculture.org

68 Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Joanne and Jerry Dreher • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Mrs. Richard S. Emmet • Lillian K. Etmekjian • David H. Evans • Marilyn Evans • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • David D. Foster • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Ray Goldberg • Mr. Mark R. Goldweitz • Midge Golin • Hon. José A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Edmund A. Grossman • Hope Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Ira Haupt, II • Deborah Hauser • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Mr. Richard B. Hirsch • Joan and Peter Hoffman • Ms. Emily C. Hood • Silka Hook • Jackie and Larry Horn • Timothy P. Horne • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Charles and Carolyn Jack • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mrs. H.E. Jones • Ron and Joyce Jones • Richard Michael Kagan • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye ‡ • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Mary Ellen Kiddle • Athena and Richard Kimball • Mary S. Kingsbery • Mr. Robert Kirzinger • Ms. Marsha A. Klein • Mason J. O. Klinck • Kathleen Knudsen • Joan H. Kopperl • Mr. Robert K. Kraft • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Don and Virginia LeSieur • Toby Levine • Jeffrey and Della Levy • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mrs. David McKearnan • Mrs. Willard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Joel Robert Melamed MD • Karen Metcalf • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Edie Michelson Milender and Sumner Milender • Miss Margo Miller • Richard S. Milstein, Esq. • Dale and Robert Mnookin • Patricia A. Monk • Joan G. Monts • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Katharine S. Nash • Chloe Nassau • Robert Neff • Anne J. Neilson • Ms. Diana Nelson • Michael L. Nieland, M.D. • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Helene and Martin Oppenheimer • Annette and Vincent O’Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Dr. Jack S. Parker • Joyce and Bruce Pastor •

week 19 the walter piston society 69 LOCAL EXPERTS, GLOBAL REACH Our Post-War & Contemporary Art specialist will be visiting the Boston area in early March to provide complimentary auction estimates with a view to selling in our May 16th auction in New York.

For inquiries or to schedule an appointment, please contact: Amy Corcoran Director, New England 121 Mt. Vernon Street Boston, MA 02108 +1 (617) 742 0909 [email protected]

International Auctioneers and Appraisers – bonhams.com/boston

EXPERIENCE THE 2016–2017 SEASON

BACH MAGNIFICAT BACH CHRISTMAS McGEGAN Sept 23 + 25, 2016 Dec 15 + 18, 2016 AND MOZART Symphony Hall NEC’s Jordan Hall Mar 3 + 5, 2017 Symphony Hall BEETHOVEN EROICA MOZART Oct 28 + 30, 2016 AND HAYDN MONTEVERDI Symphony Hall Jan 27 + 29, 2017 VESPERS Symphony Hall Apr 7, 2017 HANDEL MESSIAH NEC’s Jordan Hall Nov 25-27, 2016 GLORIES OF THE Apr 9, 2017 Symphony Hall ITALIAN BAROQUE Sanders Theatre Feb 10 + 12, 2017 NEC’s Jordan Hall HANDEL SEMELE May 5 + 7, 2017 Symphony Hall

HANDELANDHAYDN.ORG 617.266.3605

70 Nancy and Robert Payne • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins • Polly Perry ‡ • Margaret D. Philbrick • Wendy Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Patricia Ross Pratt • Mrs. Murray Preisler • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • John Sherburne Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • John J. and Emily M. Reynolds • Dr. Paul A. Richer • Barbara Rimbach • Wendy H. Robbins • Elizabeth P. Roberts • Mr. David Rockefeller, Jr. • Fran and Liz Rogers • Dr. J. Myron Rosen • Mr. James L. Roth • Pauline A. Rowe • Wallace and Carol Rowe • Arnold Roy • Sue Z. Rudd • Lois and Larry Ruttman • Joan and Michael Salke • John A., Helen M., ‡ and John W. Salkowski • Mr. Robert M. Sanders • Mr. Stephen Santis • The Sattley Family • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Arlene and Donald Shapiro • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Natalie K. Slater • Drs. Norman Solomon and Merwin Geffen • Mrs. George R. Sprague • Maria and Ray Stata • Mr. and Mrs. Joseph Stavenhagen • Mr. and Mrs. Nick Stcavish • Lewis and Margery Steinberg • Susan Stempleski • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Anne B. and Galen L. Stone • Lillian C. Stone • Theresa M. and Charles F. Stone III • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Daniel Vincent and Stephen Borboroglu • Robert Volante • Mark and Martha Volpe • Eileen and Michael Walker • Carol A. Walker • Harvey and Joëlle Wartosky • Stephen and Dorothy Weber • Allen C. West • Ron and Sandy Weston • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Richard E. Willett • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Donald G. and Jane C. Workman • Robert W. and Sheri Olans Wright • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal Zimmerman and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (77)

week 19 the walter piston society 71 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2015-16 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and MassDevelopment

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts

$50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Mastercard • Miriam Shaw Fund • National Endowment for the Humanities • National Historical Publications and Records Commission • Parthenon-EY, Alli and Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Stoneman Family Foundation • Suffolk Cares, John F. Fish

week 19 corporate, foundation, and government contributors 73

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation • Eversource Energy, Jim Judge • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Highland Capital Partners & Highland Consumer Partners • Hill Holliday, Karen Kaplan • Houghton Mifflin Harcourt, William Bayers • John Hancock Financial, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lynch Foundation • The McGrath Family/The Highland Street Foundation/Holly and David Bruce • Natixis Global Asset Management, John T. Hailer • The New England Foundation, Joseph C. McNay • Staples, Inc., Shira Goodman • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, N.A., Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio

$15,000 - $24,999 The Harold Alfond Foundation • Alfred P. Sloan Foundation • Analog Devices, Inc., Ray Stata • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • The Boston Consulting Group, Kermit King • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • The Carl & Ruth Shapiro Family Foundation • Charles Schwab & Co., Inc. • Clough Capital Partners, LP, Charles I. Clough, Jr. • RoAnn Costin • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Farley White Interests, Roger W. Altreuter, John F. Power • Flex Pharma, Christoph Westphal • Goldman, Sachs & Co. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc., John Moriarty, David Leathers • The Gerald R. Jordan Foundation, Darlene L. Jordan • The Lowell Institute • Macy’s • John and Rose Mahoney • Martignetti Companies • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • MullenLowe U.S. / Interpublic Group, Michael I. Roth • New Balance Foundation, Anne and Jim Davis • New England Development, Stephen R. Karp • OvaScience • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The TJX Companies, Inc. • Tufts Health Plan, Thomas A. Croswell • Sandra Urie and Frank Herron • Ernst von Siemens Music Foundation • VPNE Parking Solutions, Kevin W. Leary • WBZ-TV/CBS Boston, Mark Lund • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, John Swords • Colliers International, Kevin C. Phelan • Deutsch Family Wine & Spirits • DJ Dream Fund, Inc. • EY, George R. Neble • Fiduciary Trust, Todd Eckler • FTI Consulting, Stephen J. Burlone • Steve and Betty Gannon • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell •

week 19 corporate, foundation, and government contributors 75 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. Ironshore, Kevin H. Kelley • JPMorgan Chase & Co., Stephen W. Burbage • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Morgan, Lewis & Bockius LLP, Catherine Curtin • Navigator Management, Thomas M. O’Neill • New England Patriots Charitable Foundation • Steve and Judy Pagliuca • Raytheon Company • Jack and Alissa Sebastian • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allied Universal Security Services • The Amphion Foundation, Inc. • Amuleto Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Clayton F. and Ruth L. Hawkridge Foundation • The Cleary Family • Michael Cronin • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Davis Polk & Wardwell LLP • DeMoulas Supermarkets, Inc. • Gaston Dufresne Foundation • E2 Showjumpers • The E. Nakamichi Foundation • Edward A. Taft Trust • Epsilon • Feeney Brothers Excavation • The French American Fund for Contemporary Music • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • International Paper • Jack Madden Ford • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • McCarter & English, LLP • McKinsey & Company • The Norio Ohga Foundation • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Pamplona Capital Management • People’s United Bank • Abraham Perlman Foundation • Proskauer Rose LLP • PwC • Quanta Services, Inc. • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Sullivan & Cromwell LLP • TigerRisk Partners • W.B. Mason Co., Inc. • Walsh Brothers, Inc. • Willis Towers Watson • WilmerHale LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2)

$2,500 - $4,999 Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Elizabeth Grant Fund • Deborah and Vernon Ellinger and Colin and Erika Angle • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Greenberg Traurig LLP • Hoche-Scofield Foundation • Morrison & Foerster LLP • NorBella • Oxford Fund • Republic Services • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Mr. and Mrs. Ronald Sargent • P.J. Spillane Company • Vedder Price • Verrill Dana • Anonymous

week 19 corporate, foundation, and government contributors 77 BSO Major Corporate Sponsors 2016–17 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2016-17 season. Bank of America's support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sustenance, Bank of America anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR Dell EMC is pleased to support the Boston Symphony Orchestra. Dell EMC provides the foundation to enable our enterprise customers' digital transformation through our trusted hybrid cloud and big-data solutions, built upon a modern data center infrastructure that incorporates industry- leading converged infrastructure, servers, storage, and cybersecurity technologies. David Goulden President

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship of the BSO’s Casual Fridays Series, College Card program, Youth & Family Concerts, and the BSO’s Young Professionals program. These outreach programs give both area students and young professionals from Boston and from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

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

OFFICIAL HOTEL OF THE BSO George Terpilowski Fairmont Copley Plaza Boston is proud to be the official hotel of the BSO. Regional Vice President, We look forward to many years of supporting this wonderful organization. North East U.S. and For more than a century Fairmont Copley Plaza and the BSO have graced General Manager, their community with timeless elegance and enriching experiences. The Fairmont Copley Plaza BSO is a New England tradition and like Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

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

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

week 19 bso major corporate sponsors 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 Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Operating and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Advisor to the Managing Director administrative staff/artistic

Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • 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, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director 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 James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 19 administration 81 Ce e atin l br g

APRIL 29, 2017 8 PM A Fanfare and Fireworks Peter Child Fanfare WORLD PREMIERE Aaron Copland Orchestral Variations David Rakowski Violin Concerto No. 2 NEP COMMISSION, TICKETS ON SALE WORLD PREMIERE Danielle Maddon, violin NEPhilharmonic.org Sebastian Currier Microsymph Zoltan Kodaly Peacock Variations TSAI PERFORMANCE CENTER BOSTON UNIVERSITY Liliya Ugay Oblivion BOSTON PREMIERE Winner, NEP Call for Scores

Great kids. Great music. Listen to the future.

Tune in to NPR’s From the Top with Host Christopher O’Riley at www.fromthetop.org/podcast

82 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 • 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 • Kaitlyn Arsenault, Graphic Designer • 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, Senior Executive Assistant, Development and Board Relations • 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, Manager, Corporate Initiatives and Development 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 • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 19 administration 83 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

84 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 public relations

Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate 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, Senior 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 Kelsey Devlin, Box Office Administrator • Neal Goldman, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager 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 19 administration 85

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

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!

necmusic.edu/orchestras

week 19 administration 87 Next Program…

Thursday, March 23, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am) Thursday, March 23, 8pm Friday, March 24, 1:30pm Saturday, March 25, 8pm

françois-xavier roth conducting

berlioz “le corsaire” overture, opus 21

Matthias pintscher “un despertar” for cello and orchestra (2016) (world premiere; bso co-commission) alisa weilerstein

{intermission}

beethoven symphony no. 6 in f, opus 68, “pastoral” Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro— Thunderstorm. Allegro— Shepherd’s song. Happy, grateful feelings after the storm. Allegretto

American cellist Alisa Weilerstein joins French conductor François-Xavier Roth for the world premiere of the BSO-commissioned cello concerto un despertar (“an awakening”) by German composer Matthias Pintscher, with whom Weilerstein has collaborated in the past. Pintscher, also a noted conductor, is a major figure in classical music in both Europe and the U.S. Opening the program is Hector Berlioz’s alternately romantic and swashbuckling Le Corsaire Overture, which, as was often the composer’s practice, took shape from earlier sketches. The title is an incidental reference to James Fenimore Cooper’s The Red Rover (“Le Corsaire rouge”). Beethoven’s Symphony No. 6, Pastoral, is his only explicitly programmatic symphony, a fundamentally cheerful work illustrating a sojourn in the countryside.

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.

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, March 23, 10:30am (Open Rehearsal) Sunday, April 2, 3pm Thursday ‘C’ March 23, 8-9:55 Jordan Hall, New England Conservatory

Friday ‘B’ March 24, 1:30-3:25 BOSTON SYMPHONY CHAMBER PLAYERS Saturday ‘B’ March 25, 8-9:55 with ELIZABETH FISCHBORN, soprano FRANÇOIS-XAVIER ROTH, conductor and DAVID DEVEAU, piano ALISA WEILERSTEIN, cello JOLIVET Pastorales de Noël, for flute, BERLIOZ Le Corsaire Overture bassoon, and harp LERDAHL PINTSCHER un despertar, for cello and Fire and Ice, for soprano and orchestra (world premiere; double bass BSO co-commission) PROKOFIEV Quintet for oboe, clarinet, BEETHOVEN Symphony No. 6, Pastoral violin, viola, and double bass, Op. 39 CROZIER Masque, for oboe and string Wednesday March 29, 8-10:10 trio (replacing the Thursday 'B' concert of February 9 BRAHMS Piano Quartet No. 1 in G minor, postponed due to snow) Op. 25 Thursday ‘A’ March 30, 8-10:10 Friday Evening March 31, 8-9:20 (Casual Friday, with introductory comments Thursday ‘D’ April 13, 8-10 by a BSO member and no intermission) Friday ‘B’ April 14, 1:30-3:30 Saturday ‘A’ April 1, 8-10:10 Saturday ‘A’ April 15, 8-10 ANDRIS NELSONS ALAIN ALTINOGLU, conductor , conductor MITSUKO UCHIDA RENAUD CAPUÇON, violin , piano MOZART BERLIOZ Roman Carnival Overture Piano Concerto No. 20 in D minor, K.466 LALO Symphonie espagnole for violin and orchestra BRUCKNER Symphony No. 6 DUTILLEUX Symphony No. 2, Le Double (March 29, 30 & April 1 only) ROUSSEL Bacchus et Ariane, Suite No. 2

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. Programs and artists subject to change.

week 19 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services 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 program pieces in order not to disturb other patrons.

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

week 19 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 concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®