2012–2013 season | Week 2 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 2

7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 a brief history of the bso 20 this week’s program

Notes on the Program

22 The Program in Brief… 23 Pyotr Ilyich Tchaikovsky 27 Leonard Bernstein 33 Ervín Schulhoff 39 Antonín Dvorákˇ 47 To Read and Hear More…

Artists

51 Marcelo Lehninger 53 Joshua Bell 55 Hawthorne String Quartet

58 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

the friday preview talk on october 5 is given by bso director of program publications marc mandel.

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO concertmaster Malcolm Lowe by Stu Rosner

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, Jr., ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

† Deceased life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome •

week 2 trustees and overseers 3

photos by Michael J. Lutch

Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 2 trustees and overseers 5

BSO News

Boston Symphony Orchestra and Boston Youth Symphony Orchestra Announce New Partnership for Classical Music in Boston BSO Managing Director Mark Volpe and Cathy Weiskel, Executive Director of the Boston Youth Symphony Orchestra (BYSO), have announced a new BSO/BYSO partnership aimed toward developing new training programs and performance opportunities for young musi- cians, audiences, and the wider community, while also exploring new ways to foster the future of classical music. As part of this unique collaboration, BSO management will work closely with BSO musicians, guest conductors, and assistant conductors to schedule their participation in BYSO coaching, master classes, rehearsals, and auditions. The BSO and BYSO will also develop a mentor/“godparent” program involving the musicians of both organizations. This new relationship represents a significant expansion of the previous rela- tionship between the two organizations, through which the BSO has presented the BYSO in Symphony Hall as part of its Family Concerts series for the past three seasons. In addition to continuing performances by BYSO ensembles as part of the BSO’s Family Concerts series, a production of Mozart’s The Magic Flute for younger audiences, to include the participation of BSO musicians as coaches and performers, is already in the planning phase for 2013-14. The BSO and BYSO also aim to organize “side-by-side” performances for either a large ensemble or instrumental sections; to develop opportunities for BYSO musicians and ensembles to be involved in pre-concert activities as part of the BSO’s own Family Concerts; and to provide BYSO members and their families special access to selected BSO concerts, rehearsals, and other events. The BSO and BYSO will also explore such other possible opportunities as the creation of a BYSO alumni ensemble for educational performances at Tanglewood; performances by BYSO musicians in the BSO’s Community Chamber Music series; and performances by BYSO ensembles at other BSO-sponsored events.

BSO 101—A Free Adult Education Series at Symphony Hall BSO 101 is a free adult education series offering informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. Free to all interested, the sessions take place from 5:30-6:45 p.m. on selected Tuesdays and Wednesdays at Symphony Hall, and each is followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. Admission is free, but we ask that you please e-mail [email protected] to reserve your place for the date or dates you’re planning to attend. “BSO 101: Are You Listening?” offers seven Wednesday sessions with Director of Program Publications Marc Mandel and members of the BSO. Designed to enhance your listening abilities and appreciation of music by focusing on music from the BSO’s repertoire, these

week 2 bso news 7 take place on October 10 and 31, November 14, January 9, February 6, March 13, and April 10. The specific musical repertoire to be discussed is posted at bso.org 3-4 weeks before each session. No prior musical training, or attendance at any previous session, is required, since each session is self-contained. “BSO 101: An Insider’s View,” focusing on behind-the-scenes activities at Symphony Hall, offers four Tuesday-evening sessions featuring BSO musicians and administrative staff, on October 16, November 20, January 29, and March 5. New this season: two of the sessions will offer round-table discussions with BSO musicians. Please visit bso.org for further information.

From the Tanglewood Audio Archives: A Tanglewood 75th Anniversary Celebration To celebrate the Tanglewood Festival’s 75th anniversary this past summer, the Boston Symphony Orchestra released 75 newly remastered historic performances from the BSO’s audio archives, one each day from June 20 through September 2, including orchestral con- certs, chamber music, opera, musical theater, jazz, and more—by performers including the Boston Symphony and Boston Pops Orchestras, Boston Symphony Chamber Players, Tangle- wood Music Center Orchestra, Beaux Arts Trio, Juilliard Quartet, and James Taylor; con- ductors including Bernstein, Copland, Colin Davis, Fiedler, Haitink, Koussevitzky, Leinsdorf, Levine, Lockhart, Masur, Monteux, Munch, Ozawa, Schuller, Steinberg, and Williams; and such celebrated guest soloists as Arrau, Ax, Cliburn, Curtin, Du Pré, Fleisher, Horne, Ma, Milnes, Ohlsson, Piatigorsky, Rudolf and Peter Serkin, Sills, and Stern. Including, among many other things, BSO concert performances of Verdi’s Otello, the original version of Beethoven’s Fidelio, and Mozart’s The Magic Flute led by Erich Leinsdorf; Berlioz’s Damnation of Faust and Act I of Wagner’s Die Walküre led by Charles Munch; Ozawa-led performances

8 of Bach, Berlioz, Bizet, and Messiaen; Mozart and Berlioz with Sir Colin Davis; Beethoven’s Symphony No. 9, Brahms’s Alto Rhapsody and the Suite No. 2 from Ravel’s Daphnis et Chloé with Koussevitzky; and Mahler’s Symphony No. 8, Schoenberg’s Gurrelieder, Part I of Berlioz’s Les Troyens (The Fall of Troy), and Dvoˇrák’s Symphony No. 8 with James Levine, these historic performances remain available for purchase, as downloads, at bso.org: click “Symphony Shop” on the BSO’s home page, select the option for “Digital Media,” choose “Tanglewood,” and look for the items marked with the “Tanglewood 75” logo. Clicking on the individual items will then provide complete information—artists, original performance date, and descriptive notes—for each recording.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for October and November are Marc Mandel (October 5 and 12; November 30), Robert Kirzinger (October 19; November 2 and 16), Harlow Robinson of Northeastern University (November 9), and Jan Swafford of The Boston Conservatory (November 23). individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Fanny Peabody Mason Mason’s love of music, and to foster the high- Memorial Concert est aspirations of the art. Besides the concert Friday, October 5, 2012 sponsorship, the gift created the Mason Lounge for musicians and staff and the Mason The first Friday-afternoon concert of the Green Room. Boston Symphony Orchestra’s subscription season is dedicated to the memory of Miss Fanny Peabody Mason, who was a Friday- Go Behind the Scenes: afternoon subscriber and an active patron of Symphony Hall Tours music both in the United States and abroad Get a rare opportunity to go behind the until her death in 1948. Many music lovers scenes at Symphony Hall with a free, guided recall the outstanding concerts Miss Mason tour, offered by the Boston Symphony Associ- presented in the music room of her town- ation of Volunteers. Throughout the Symphony house on Commonwealth Avenue and at her season, experienced volunteer guides discuss summer residence in Walpole, New Hamp- the history and traditions of the BSO and its shire. The endowment to honor Miss Mason world-famous home, historic Symphony Hall, perpetually was created in 1985 by the as they lead participants through public and Peabody-Mason Music Foundation, estab- selected “behind-the-scenes” areas of the lished by Miss Mason, and which presented building. Free walk-up tours lasting approxi- young and well-established artists in concert mately one hour take place this fall at 2 p.m. in Boston and Cambridge for more than 35 on five Saturdays (October 6, 13; November years. The president of the foundation at that 3, 17; December 1) and at 4 p.m. on eight time, the late Paul Doguereau, initiated the Wednesdays (October 3, 10, 17, 24, 31; gift to the BSO as a way to recognize Miss

week 2 bso news 9

November 7, 14, 28). For more information, October 7, at 7 p.m., in the Longy School’s visit bso.org/tours. All tours begin in the Edward M. Pickman Concert Hall, 27 Garden Massachusetts Avenue lobby of Symphony Street, Cambridge. Admission is $15, discount- Hall. Special private tours for groups of ten ed for seniors. For further information, visit guests or more—free for Boston-area elemen- longy.edu or call (617) 876-0956, ext. 1500. tary schools, high schools, and youth/educa- BSO members Lucia Lin, violin, and Owen tion community groups—can be scheduled Young, cello, perform Brahms’s Double Con- in advance (the BSO’s schedule permitting). certo with the Boston Classical Orchestra, Make your individual or group tour reservations Steven Lipsitt, Music Director, on a program today by visiting bso.org/tours, by contacting with Beethoven’s Egmont Overture and Bizet’s the BSAV office at (617) 638-9390, or by Symphony No. 1 in C, on Saturday, October e-mailing [email protected]. 21, at 8 p.m., and Sunday, October 22, at 3 p.m., in Boston’s Faneuil Hall. Tickets are $37 BSO Business Partner of the Month to $74, $19 for students. For further informa- tion, visit bostonclassicalorchestra.org or call Did you know that there are more than 400 (617) 423-3883. businesses and corporations that support the Boston Symphony Orchestra, Inc.? You can lend your support to the BSO by supporting The Information Table: the companies who support us. Each month, Find Out What’s Happening we will spotlight one of our corporate sup- At the BSO porters as the BSO Business Partner of the Are you interested in upcoming BSO concert Month. This month’s partner is Natixis Global information? Special events at Symphony Asset Management. Natixis Global Asset Hall? BSO youth activities? Stop by the infor- Management, S.A., manages $711 billion on mation table in the Peter & Anne Brooke behalf of clients around the world, placing it Corridor on the Massachusetts Avenue side among the fifteen largest asset-management of Symphony Hall (orchestra level). There companies. Its Durable Portfolio Construction you will find the latest performance, mem- model helps clients navigate the investment bership, and Symphony Hall information challenges posed by the fast-changing and provided by knowledgeable members of the unpredictable global economy. Nataxis Global Boston Symphony Association of Volunteers. Asset Management calls its approach Better The BSO Information Table is staffed before Thinking. Together®. Natixis Global Asset each concert and during intermission. Management is headquartered in Boston and a unit of Paris-based Group BPCE. Its twenty global affiliates include Loomis Sayles and Comings and Goings... AEW Capital Management locally. For more Please note that latecomers will be seated information about becoming a BSO Business by the patron service staff during the first Partner, contact Rich Mahoney, Director of convenient pause in the program. In addition, BSO Business Partners, at (617) 638-9277 please also note that patrons who leave the or at [email protected]. hall during the performance will not be allowed to reenter until the next convenient BSO Members in Concert pause in the program, so as not to disturb the performers or other audience members while BSO violist Michael Zaretsky, joined by the concert is in progress. We thank you for mezzo-soprano Olga Bykhovsky and pianist your cooperation in this matter. William Merrill, perform in recital on Sunday,

week 2 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 2 on display 13 Boston Symphony Orchestra 2012–2013

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

bernard haitink seiji ozawa music director thomas wilkins LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

week 2 boston symphony orchestra 15

S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of founder Henry Lee Higginson, who envisioned a great and perma- nent orchestra in his hometown. Today the BSO reaches millions through radio, television, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known world- wide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

The BSO played its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most highly regarded concert halls, was opened on October 15, 1900. Henschel was succeeded by German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, cul- minating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and ful- filling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as con- ductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked

week 2 a brief history of the bso 17 18 S Archives BSO

Rush ticket line at Symphony Hall, probably in the 1930s

the beginning of a French tradition maintained, even during the Russian-born Serge Kousse- vitzky’s tenure (1924-49), with the employment of many French-trained musicians.

In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orches- tra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995.

It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires. A year later, he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra.

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra's 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals.

Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

week 2 a brief history of the bso 19 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, October 4, 8pm Friday, October 5, 1:30pm | the fanny peabody mason memorial concert Saturday, October 6, 8pm Tuesday, October 9, 8pm

marcelo lehninger conducting

tchaikovsky “romeo and juliet,” overture-fantasy after shakespeare

20 bernstein serenade (after plato’s “symposium”), for violin and orchestra (October 4, 5, and 6) I. Phaedrus; Pausanias (Lento—Allegro) II. Aristophanes (Allegretto) III. Eryximachus (Presto) IV. Agathon (Adagio) V. Socrates; Alcibiades (Molto tenuto—Allegro molto vivace) joshua bell schulhoff concerto for string quartet with wind orchestra (Tuesday, October 9, only) Allegro moderato; Allegro molto con spirito Largo Finale: Allegro con brio—Tempo di Slowfox—Tempo come primo hawthorne string quartet

{intermission} dvoˇrák symphony no. 8 in g, opus 88 Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The Thursday and Saturday concerts will end about 10:05, the Friday-afternoon concert about 3:35, and the Tuesday concert about 10. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 2 program 21 The Programs in Brief...

This week’s concerts, led by BSO Assistant Conductor Marcelo Lehninger, are a split series. Thursday through Saturday, violinist Joshua Bell is soloist in music of Leonard Bernstein. On Tuesday, October 9, the Hawthorne String Quartet, made up of BSO members, join the orchestra for Ervín Schulhoff’s Concerto for String Quartet with Wind Orchestra. Music of Tchaikovsky and Dvoˇrák completes these programs.

Pyotr Ilyich Tchaikovsky was frequently inspired by literature and dramatic narrative. Along with Pushkin, Byron, and Dante, Shakespeare was a particular source, providing impetus for music based on Romeo and Juliet, The Tempest, and Hamlet. Tchaikovsky used these opportunities not to attempt to illustrate the action, but rather to explore character and emotional content. He wrote the first version of his “fantasy-overture” Romeo and Juliet in 1869, revising it the following year and again a decade later, in 1880. Its lush music evokes a range of moods, from the conflict between the warring Montagues and Capulets to the blossoming love between the title characters. Their “love theme” is among the composer’s best-known melodies.

By the 1950s, the composer, conductor, pianist, and musical advocate Leonard Bernstein had had major successes on Broadway, in the concert hall, and on film, and entering his mid-thirties was one of the leading lights of American music. He wrote his Serenade (after Plato’s Symposium) for violin and orchestra in 1954 on a commission from the Koussevitzky Foundation established by his late mentor, former BSO music director Serge Koussevitzky. The Serenade was premiered in Venice by Isaac Stern, who also gave the first American performances, here at Symphony Hall with the BSO under Charles Munch in 1955. The five-movement work was inspired by Plato’s Symposium, in which seven characters (including Socrates) make stirring speeches in praise of love.

Prague-born Czech composer Ervín Schulhoff was a child prodigy as a pianist; it was apparently his great Czech predecessor Antonín Dvoˇrák himself who suggested that the young Schulhoff be allowed to follow a career in music. Although his early work was strongly influenced by Dvoˇrák’s, after World War I he began to absorb various currents of the avant- garde. His Concerto for String Quartet with Wind Orchestra, premiered in 1932 in Prague, has the rhythmic and harmonic punch of neoclassicism. The Hawthorne String Quartet gave the American premiere of the concerto with the BSO under Seiji Ozawa in 1995. They have been central in re-establishing Schulhoff’s reputation as an important Central European composer of the between-wars era, along with shedding light on other com- posers of “entartete Musik”—so-called “degenerate music” forbidden under Nazi rule.

Antonín Dvoˇrák wrote nine symphonies in all. Of these, the Eighth, composed in 1889, is arguably the most individual, moving away from the symphonic style of Brahms, whose influence is particularly evident in Dvoˇrák’s Seventh. The Eighth is an expansive, four- movement work, by turns bucolic and exuberant. The composer intended it to be “different from other symphonies, with individual thoughts worked out in a new way.” The Boston Symphony gave the American premiere of this work under Arthur Nikisch in 1892.

22 Pyotr Ilyich Tchaikovsky “Romeo and Juliet,” Fantasy-Overture after Shakespeare

PYOTR ILYICH TCHAIKOVSKY was born at Votkinsk, Vyatka Province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He composed “Romeo and Juliet” between October 7 and November 27, 1869. After the first performance in Moscow on March 16, 1870, he reworked the score considerably during the summer, the next, nearly final form of the work being premiered in St. Petersburg on February 17, 1872. Then, in 1880, he returned again to the piece for a final reworking of the closing bars, completing the definitive score as we know it today on September 10 that year. It was published in Berlin in the following year, but not performed until May 1, 1886, when it was premiered in Tbilisi.

THE SCORE OF “ROMEO AND JULIET” calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, bass drum, cymbals, harp, and strings.

When the high-strung and hypersensitive Tchaikovsky chose particular pieces of literature to set to music, he usually read himself into the leading characters and their predicaments. (He was especially fond of stories involving unrequited or tragic love, such as Pushkin’s Eugene Onegin and Queen of Spades, which he turned into operas.) Romeo and Juliet seems to have been no exception. The passionate immediacy of the “fantasy-overture” was stimulated in part by the recent personal experience of a love affair gone bad. For Tchaikovsky, a homosexual living a highly conflicted and secretive private life in socially conservative Tsarist Russia, such experiences were doubly painful because they had to be concealed and—in a certain sense—denied. Recent research by Alexander Poznansky proposes that the amour was Eduard Zak, who was fifteen years old (about the same age as the title characters!) at the time Romeo and Juliet was composed. A few years later, in 1873, Zak committed suicide—just as Romeo and Juliet do in the play’s final scene.

Tchaikovsky’s Romeo and Juliet strives to condense a five-act tragedy of supreme verbal and dramatic density into a “fantasy-overture” lasting only eighteen minutes. Tchaikovsky

week 2 program notes 23 Program page for the first Boston Symphony performance of Tchaikovsky’s “Romeo and Juliet” on February 8, 1890, with Arthur Nikisch conducting (BSO Archives)

24 does not supply an exact program for this piece, which he completed in 1869 (at twenty- nine) and subsequently revised twice, in 1870 and in 1880. Instead he focuses on the main idea of hostility between the warring Montagues and Capulets, and the soaring “star-crossed” passion of the young lovers. Nor does the music contain any reference to the local color of Italian Verona. It begins with a lengthy slow introduction, in the manner of a prelude or invocation, somber and foreboding; harp arpeggios add a sense of dreamy historical distance. Suddenly, the key changes to B minor and the mood becomes agitated with the entrance of what one might call the “feuding theme.” The great love theme, introduced by the English horn, is heavy with yearning and sensuality, an irresistible tune that has been endlessly recycled in popular songs (e.g., “Our love is like a melody,” recorded by Frank Sinatra) and movie scores. Tchaikovsky continues to develop these vibrant musical ideas, ending with a plaintive restatement of the love theme against timpani sounding a funereal beat.

Harlow Robinson harlow robinson is Matthews Distinguished University Professor at Northeastern University and lectures frequently for the Boston Symphony Orchestra, Metropolitan Opera, and Lincoln Center. His books include “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians: Biography of an Image.”

THEFIRSTAMERICANPERFORMANCE of Tchaikovsky’s “Romeo and Juliet” was given by the Theodore Thomas Orchestra on April 17, 1876, at New York’s Steinway Hall.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCE of Tchaikovsky’s “Romeo and Juliet” was given by Arthur Nikisch on February 8, 1890, subsequent BSO performances being given by Emil Paur, Wilhelm Gericke, Karl Muck, Max Fiedler, Pierre Monteux, Richard Burgin, Serge Koussevitzky, Albert Stoessel, Leonard Bernstein, Charles Munch, Igor Markevitch, Claudio Abbado, Seiji Ozawa, Colin Davis, Eugene Ormandy, Hugh Wolff, Carl St. Clair (including the most recent subscription performances, in November 1989, when St. Clair substituted at short notice for Seiji Ozawa and programmed “Romeo and Juliet” to replace the originally scheduled Prokofiev Fifth Symphony; prior to that, the most recent subscription performances were Claudio Abbado’s in February 1971), Keith Lockhart (in 1996, as part of Tanglewood on Parade), Kurt Masur, and André Previn (the BSO’s most recent Tanglewood performance, on July 8, 2007, though Christoph von Dohnányi conducted the Tanglewood Music Center Orchestra in the piece more recently there on August 2, 2011, for Tanglewood on Parade).

week 2 program notes 25

Leonard Bernstein Serenade (after Plato’s “Symposium”) for solo violin, string orchestra, harp, and percussion

LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died in New York on October 14, 1990. He composed his Serenade on a commission from the Koussevitzky Music Foundation in 1954, completing the work on August 7 of that year. The score bears the dedication “To the beloved memory of Serge and Natalie Koussevitzky.” The first performance took place in Venice, Italy, at the Teatro Fenice on September 12, 1954, with Isaac Stern as soloist. The Boston Symphony Orchestra gave the first American performances, also with Stern as soloist, with Charles Munch conducting on April 15 and 16, 1955.

IN ADDITION TO THE SOLO VIOLIN, the score calls for string orchestra, harp, timpani, snare drum, tenor drum, bass drum, triangle, suspended cymbal, xylophone, glockenspiel, chimes, Chinese blocks, and tambourine.

Bernstein’s music has always been intimately connected with the theater, whether in a ballet, musical show, or opera. And even his more abstract concert music almost always has elements of theatricality, a sense of characterization in the melodies that can bring them vividly into the imagination of the listener. In the case of the musical “conversation” that underlies his Serenade, the continuity of the “discussion,” which evolves continuously, is varied by the different viewpoints of the characters who take part. The composer’s own commentary, written the day after he completed the score, is the best guide to the work’s course, and is printed below.

Steven Ledbetter

There is no literal program for this Serenade. The music, like Plato’s dialogue, is a series of related statements in praise of love. The relatedness of the movements does not de- pend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one, a form I initiated in my second symphony, The Age of Anxiety.

week 2 program notes 27 Program page for the first Boston Symphony performances—the American premiere performances— of Bernstein’s Serenade (after Plato’s “Symposium”) on April 14 and 15, 1955, with Charles Munch conducting and soloist Isaac Stern (BSO Archives)

28 Leonard Bernstein and Isaac Stern

I. Phaedrus; Pausanias (Lento—Allegro). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of the lover as compared with the beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.

II. Aristophanes (Allegretto). Aristophanes does not play the role of clown in this dia- logue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm.

III. Erixymachus (Presto). The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.

IV. Agathon (Adagio). Perhaps the most moving (and famous) speech of the dialogue,

week 2 program notes 29

Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is simply a three-part song.

V. Socrates; Alcibiades (Molto tenuto—Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a daemon is Socrates’ image for the profundity of love; and his seniority adds to the feeling of didactic soberness in an otherwise pleasant and convivial after-dinner discussion. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.

Leonard Bernstein

THEFIRSTAMERICANPERFORMANCES of Bernstein’s Serenade were given (as stated at the start of the program note) by the Boston Symphony Orchestra on April 15 and 16, 1955; Charles Munch conducted, with soloist Isaac Stern. The BSO did not play the piece again until Seiji Ozawa led it at Tanglewood on July 3, 1971, with then BSO concertmaster Joseph Silverstein. Ozawa and Silverstein repeated the work with the orchestra in Boston and New York in February 1976—the Boston performances being the most recent Symphony Hall subscription series until this week. Since 1976 there have been BSO performances featuring Peter Zazofsky (at Tanglewood in 1983 with Joseph Silverstein conducting), Midori (with Leonard Bernstein in 1986, also at Tanglewood), Itzhak Perlman (an Opening Night performance in September 1994, followed by Carnegie Hall performances that October, Perlman having played the piece with Ozawa and the Tanglewood Music Center Orchestra that July as part of the TMCO’s annual Leonard Bernstein Memorial Concert), Joshua Bell (at Tanglewood in 2001 with Hugh Wolff), and Dan Zhu (the orchestra’s most recent performance, at Tanglewood this past summer on July 20, 2012, with Christoph Eschenbach conducting).

week 2 program notes 31

Ervín Schulhoff Concerto for String Quartet with Wind Orchestra

ERVÍN SCHULHOFF was born in Prague on June 8, 1894, and died of tuberculosis in the Wülzberg concentration camp on August 18, 1942. He composed his Concerto for String Quartet with Wind Orchestra in Prague in 1930. The Boston Symphony Orchestra has programmed the piece on one previous occasion, when the Hawthorne String Quartet played the American premiere perform- ances with Seiji Ozawa and the BSO on February 23, 24, and 25, 1995.

IN ADDITION TO THE FEATURED STRING QUARTET, the score of Schulhoff’s concerto calls for a wind orchestra consisting of flute and piccolo, oboe and English horn, clarinet and bass clar- inet, bassoon and contrabassoon, two horns, two trumpets, two trombones, and tuba.

Czech composer Ervín Schulhoff received early encouragement from his great predeces- sor Antonín Dvoˇrák, who suggested that he study piano at the Prague Conservatory with Jindˇrich K`aan; he began his studies there at the age of ten. Further studies took place at most of the major European conservatories—Vienna, Leipzig, and Cologne, followed by private lessons with Max Reger and Claude Debussy, as diverse a pair of teachers as one can imagine. He quickly became recognized as a musician to watch when he won the Mendelssohn Prize for piano in 1913 and five years later the same prize in composition.

After completing his studies, Schulhoff spent the first post-war years in Germany, where he associated with modern artists including the circles of George Grosz and Paul Klee, as well as the German dadaists. After 1923 he returned to Prague as a teacher of piano, and in 1929, at the age of thirty-five, he took up a faculty position in composition, instrumen- tation, and score-reading at the conservatory, He frequently performed the most modern piano music (including that of Alois Hába, who began composing in quarter-tones) but was also active as a jazz pianist, so it will be no surprise to find jazz idioms playing a role in his compositions.

Schulhoff was politically on the far left, which put him outside the pale of the increasing power of the National Socialists. From the early 1930s he was active in Communist causes,

week 2 program notes 33 and when Hitler completed the Anschluss with Austria in 1938 and arranged for German annexation of the Czech Sudetenland (the transaction that was supposed to have gained, in Neville Chamberlain's sadly mistaken phrase, "peace in our time"), Schulhoff took a Soviet passport. Thus, when the Nazis overran Czechoslovakia, Schulhoff was thrice cursed from their point of view—as a Jew, as a Communist, and as a composer inclined toward jazz and the avant-garde.

As this brief summary of his background might suggest, Schulhoff's music drew from many sources, ranging from Czech folk music and American jazz to the most advanced tendencies in the Europe of his time. He absorbed all of these influences into his own personal style that showed remarkable versatiltiy. There is no way of knowing what might have developed if he had not been imprisioned by the Nazis during the German occupation of Czechoslovakia and died of tuberculosis in the Wülzburg concentration camp while still in mid-life.

34 The Concerto for String Quartet with Wind Orchestra comes from 1930, when Schulhoff had achieved a remarkable fusion of the diverse elements of his art. The layout of the work suggests a kind of homage to the Baroque concerto grosso form, with its opposition of large and small groups of instruments. But in the Baroque era, both large and small groups tended to project the same instrumental colors—usually strings, for a large body and a group of soloists. Even in those instances where winds played an important role, they were usually featured as the soloists, not as the main ensemble. So Schulhoff's work provides a fascinating inversion of the traditional concerto grosso style, with winds pro- viding the framework of the piece as a whole, within which the string quartet appears as contrast and solo. The inspiration for a wind-based orchestra may have come from Schulhoff's experience with jazz, in which at least some of the wind instruments (clarinet, trumpet, and trombone, in particular) took on a new presence. The introductory bars of the first movement begin at once with a characteristic syncopated figure not often found in European music before the advent of jazz, but unavoidable thereafter. The bustling ritornello, with its driving eighth-note rhythm, scurrying sixteenths in the upper winds, and dissonant harmonies, suggests a fusion of Bach, possibly Stravinsky, and Hindemith, and when the string quartet enters with material suggesting the Brandenburg Concertos— but with the sonority of Gershwin-esque chords of piled-up fourths—the blend of old and new is complete.

The first movement alternates two basic tempi, the second slightly faster than the first, but both exploiting the same family of musical ideas. These are mostly short and rhythmic,

week 2 program notes 35 but the occasional contrasting longer phrases project sturdy sweeps up and down the chromatic scale to lend backbone to the bustling activity, and they are frequently cast in contrary motion, so that one line rises in mirror image to another line's fall. The string quartet plays an extended cadenza (which, of course, being for four performers rather than just one, must be composed into the score, and not improvised), following which the winds play a closing ritornello.

The second movement, Lento, has a tranquil, bluesy flavor, sharpened in the middle with a more crisply energetic passage of dotted rhythms in the brass building to a weighty climax before receding to the poignant lyricism of the opening.

The string quartet leads off in the finale with a lively material similar to that of the open- ing movement and which the winds pick up. Soon the four strings set up a kind of vamp, a rhythmic and harmonic background against which small groups of winds—the flutes, the clarinets, the bassoons, etc.—play in pairs, with more varied mixtures of color than before. Suddenly the tempo changes to that of a "Slowfox," as the score says—that is, the current dance rage, the fox-trot—and a light-textured central passage begins to swing more and more intensely, finally breaking out again in the fast opening material that brings the concerto to its invigorating close.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

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week 2 program notes 37

Antonín Dvorákˇ Symphony No. 8 in G, Opus 88

ANTONÍN DVORÁKˇ was born at Mühlhausen (Nelahozeves), Bohemia, on September 8, 1841, and died in Prague on May 1, 1904. He wrote his Symphony No. 8 between August 26 and November 8, 1889, and conducted the first performance on February 2, 1890, in Prague. The Boston Symphony Orchestra led by Arthur Nikisch gave the first American performance on February 27, 1892.

THE SYMPHONY IS SCORED for two flutes (second doubling piccolo), two oboes (second dou- bling English horn for just three measures), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

Dvoˇrák’s fame at home had begun with the performance in 1873 of his patriotic cantata Heirs of the White Mountain. (The defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 led to the absorption of Bohemia into the Habsburg empire, a condition that obtained until October 28, 1918.) An international reputation was made for him by the first series of Slavonic Dances of 1878 and also by his Stabat Mater. The success in England of the latter work was nothing less than sensa- tional, and Dvoˇrák became a beloved and revered figure there, particularly in the world of choir festivals, much as Mendelssohn had been in the century’s second quarter (but see George Bernard Shaw’s reviews of Dvoˇrák’s sacred works).

In the 1890s, this humble man, who had picked up the first rudiments of music in his father’s combination of butcher shop and pub, played the fiddle at village weddings, and sat for years among the violas in the pit of the opera house in Prague (he was there for the first performance of Smetana’s Bartered Bride), would conquer America as well, even serving for a while as director of the National Conservatory in New York. Johannes Brahms was an essential figure in Dvoˇrák’s rise, providing musical inspiration, but also helping his younger colleague to obtain government stipends that gave him something more like the financial independence he needed, and, perhaps most crucially, persuading his own publisher Simrock to take him on. Next to talent, nothing matters so much to a young

week 2 program notes 39 Program page for the first Boston Symphony performance—the American premiere—of Dvoˇrák’s Symphony No. 8 on February 27, 1892, with Arthur Nikisch conducting (BSO Archives)

40 composer as having a responsible and energetic publisher to get the music into circula- tion, a subject many a composer today could address eloquently.

Unlike Haydn and Beethoven, Dvoˇrák never sold the same work to two different publish- ers, but on a few occasions, and in clear breach of contract, he fled the Simrock stable, succumbing to the willingness of the London firm of Novello to outbid their competition in Berlin. One of these works was the G major symphony, published in a handsomely printed full-size score by Novello, Ewer, and Co. of London and New York, copyright 1892, and priced at thirty shillings. Dvoˇrák’s other Novello publications were vocal works, including his great dramatic cantata The Specter’s Bride, the oratorio Saint Ludmilla, the Mass in D, and the Requiem. Given the English passion for Dvoˇrák engendered by his Stabat Mater in 1883, it is no wonder that Novello was willing to bid high.

week 2 program notes 41

Dvoˇrák’s birthplace at Nelahozeves

Simrock primarily wanted piano pieces, songs, chamber music, and, above all, more and more Slavonic Dances—in other words, quick sellers—while Dvoˇrák, for his part, accused Simrock of not wanting to pay the high fees that large works like symphonies merited. (Simrock, having paid 3,000 marks for the Symphony No. 7, offered a mere and insulting 1,000 for No. 8.) Yet Dvoˇrák was not just interested in money, though as someone who had grown up in poverty he was not indifferent to comfort. He had grand goals as a com- poser of symphony and opera—not just to do those things, but to do them, especially symphony, in as original a way as he was capable. Understandably, therefore, and in full awareness of the value of Simrock’s initial support, he resented a publisher who showed some reserve about endorsing his most ambitious undertakings. I also suspect that another factor in these occasional infidelities of Dvoˇrák’s was his unabated irritation with Simrock for his insistence on printing his name as German “Anton” rather than Czech “Antonín.” They eventually compromised on “Ant.” Novello was willing to go with “Antonín.”

It had been four years since Dvoˇrák’s last symphony, the magnificent—and very Brahmsian— No. 7 in D minor. During those four years, Dvoˇrák had made yet another attempt at opera (this time with a political-romantic work called The Jacobin, full of superb music), revised the Violin Concerto into its present form, written a second and even finer series of Slavonic Dances, and composed two of his most loved and admired pieces of chamber music, the A major piano quintet and the piano quartet in E-flat. He felt thoroughly ready to tackle another symphony, and as he got to work in the seclusion of his country house, each page of freshly covered manuscript paper bore witness to how well-founded was his faith in himself and his ability to write something that, as he said, would be “different from other symphonies, with individual thoughts worked out in a new way.”

The new symphony opens strikingly with an introduction in tempo, notated in G major like the main part of the movement, but actually in G minor. This melody, which sounds gloriously rich in cellos, clarinets, bassoons, and horns, was actually an afterthought of

week 2 program notes 43

Dvoˇrák’s, and he figured out how to bring it back most splendidly at crucial points dur- ing the movement. The Adagio also begins on a harmonic slant. Those first rapturous phrases for strings are—or seem to be—in E-flat major, and it is only in the eighth measure that the music settles into its real key, C minor. Now we sense the long shadow cast by Beethoven’s Eroica, because the moment C minor is established, the music con- centrates on gestures that are unmistakably those of a funeral march. A radiant C major middle section, introduced by a characteristic triple upbeat, makes the Eroica reference even more unmistakable, and rises to a magnificently sonorous climax. After some mo- ments of calm, the music becomes more impassioned than ever and finally subsides into a coda that is both elegiac and tender. It is also, like most of this symphony, a marvel of imaginative scoring.

By way of a scherzo, Dvoˇrák gives us a leisurely dance in G minor. The Trio, in G major, is one of his most enchanting pages. The main section of the movement returns in the usual way, after which Dvoˇrák gives us a quick coda which is the Trio transformed, music he actually borrowed from his 1874 comic opera The Stubborn Lovers. After this strong taste of national flavor, Dvoˇrák becomes more Czech than ever in the finale, which one might describe as sort of footloose variations, and which is full of delightful orchestral effects, the virtuosic flute variation and the mad, high trilling of the horns from time to time being perhaps the most remarkable of these.

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

THEFIRSTAMERICANPERFORMANCESOFDVORÁK’Sˇ SYMPHONY NO. 8—WHICH WERE ALSOTHEFIRSTBOSTONSYMPHONYPERFORMANCES—were led by Arthur Nikisch on February 26 and 27, 1892, subsequent BSO performances being given by Charles Munch (in 1951, the first BSO performances since Nikisch’s in 1892!), Antál Dorati, Erich Leinsdorf, Karel Anˇcerl, Charles Wilson, Joseph Silverstein, Seiji Ozawa, Jahja Ling, Andrew Davis, Yuri Temirkanov, Zdenek Macal, Marek Janowski, Christoph Eschenbach, Mariss Jansons, Myung-Whun Chung, James Conlon, Bernard Haitink, Kurt Masur, James Levine, André Previn, Miguel Harth-Bedoya, Herbert Blomstedt, and Christoph von Dohnányi (the most recent subscription performances, in December 2009, and the most recent Tanglewood performance, on August 8, 2010).

week 2 program notes 45

To Read and Hear More...

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton). More recently, Brown has produced Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and for its wealth of illustrations (Scribners). Warrack is also the author of the short volume Tchaikovsky Symphonies & Concertos in the series of BBC Music Guides (University of Washington paperback). Anthony Holden’s Tchaikovsky is a single-volume biography that gives ample space to the theory that Tchaikovsky committed suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study takes a close look at this question as well (Oxford).

The Boston Symphony Orchestra recorded Tchaikovsky’s Romeo and Juliet with Serge Koussevitzky in 1936 (RCA), Charles Munch in 1956 and then again in 1961 (also RCA), Claudio Abbado in 1971 (Deutsche Grammophon), and Colin Davis in 1979 (Philips). A 1955 BSO broadcast with Igor Markevitch conducting was included in the 12-disc set “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available at the Symphony Shop and at bso.org). Other recordings include Leonard Bernstein’s with the New York Philharmonic (Sony), Gustav Dudamel’s Simón Bolívar Youth Orchestra of Venezuela (Deutsche Grammophon), Charles Dutoit’s with the Montreal Symphony (Decca), Daniele Gatti’s with the Royal Philharmonic Orchestra (RCA), Seiji Ozawa’s with the San Francisco Symphony (Deutsche Grammophon), and Antonio Pappano’s with the Santa Cecilia Academy Orchestra of Rome (EMI).

Humphrey Burton’s Leonard Bernstein is a particularly insightful and well-balanced biogra- phy of the composer (Anchor paperback); Burton knew Bernstein well, having worked with him as a television and video producer for some twenty years. Leonard Bernstein: An American Original, published in 2008, is a collection of essays assembled by the composer’s brother Burton Bernstein and New York Philharmonic archivist Barbara Haws; following an introduction by Haws, the collection includes contributions by Burton Bernstein, Alan Rich, Tim Page, Joseph Horowitz, Paul Boyer, James M. Keller, Carol J. Oja, Bill McGlaughlin, and composer John Adams (Harper).

The Boston Symphony Orchestra with Seiji Ozawa conducting recorded Bernstein’s Serenade with soloist Itzhak Perlman in 1994 (EMI). Joshua Bell has recorded the Serenade with

week 2 read and hear more 47 48 David Zinman and the Philharmonia Orchestra (Sony). Leonard Bernstein recorded the Serenade first with Isaac Stern, the soloist of the premiere, and the Symphony of the Air (reissued by Sony) and later with Gidon Kremer and the Israel Philharmonic (Deutsche Grammophon). Other recordings include Marin Alsop’s with Philippe Quint and the Bournemouth Symphony Orchestra (Naxos), Hugh Wolff’s with Brian Lewis and the Lon- don Symphony Orchestra (Delos), and David Zinman’s with Hilary Hahn and the Baltimore Symphony Orchestra (Sony).

To read in English about Ervín Schulhoff, the places to start would be Josef Bek’s article in The New Grove Dictionary of Music and Musicians, and the article online at Wikipedia. Useful sources of information on musical life in Nazi Germany include The Twisted Muse: Musicians and Their Music in the Third Reich by Michael H. Kater; the same author’s Composers of the Nazi Era: Eight Portraits; and Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps by Shirli Gilbert (all Oxford University paperback). The Hawthorne String Quartet recorded Schulhoff’s Concerto for String Quartet and Wind Orchestra with Andreas Delfs and the Deutsche Kammerphilharmonie Bremen (Decca).

There are two books on Dvoˇrák by his biographer John Clapham: Antonín Dvoˇrák: Musician and Craftsman (St. Martin’s) and the more purely biographical Antonín Dvoˇrák (Norton). Other books of interest are Alec Robertson’s Dvoˇrák in the Master Musicians series (Littlefield paperback); Robert Layton’s BBC Music Guide on Dvoˇrák Symphonies & Concertos (University of Washington paperback); Dvoˇrák and his World, a collection of essays and documentary material edited by Michael Beckerman (Princeton University Press); and Otakar Šourek’s Antonín Dvoˇrák: Letters and Reminiscences (Artia). All of Dvoˇrák’s symphonies are discussed by Jan Smaczny in his chapter on “The Czech Symphony” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Symphony–A Listener’s Guide includes his program notes on Dvoˇrák’s Sixth through Ninth symphonies (Oxford paperback).

A 2008 Tanglewood performance of Dvoˇrák’s Symphony No. 8 with James Levine con- ducting the Tanglewood Music Center Orchestra was issued this past summer in the series of 75 downloads celebrating the Tanglewood Festival’s 75th anniversary (see page 8 of this program book for further information on this). The Boston Symphony Orchestra recorded Dvoˇrák’s Eighth Symphony with Charles Munch conducting in 1961 (RCA). Other recordings include Colin Davis’s with the Concertgebouw Orchestra of Amsterdam (Philips) or more recently with the London Symphony Orchestra (LSO Live), Christoph von Dohnányi’s with the Cleveland Orchestra (London/Decca), Antál Dorati’s with the London Symphony Orchestra (Mercury Living Presence), István Kertesz’s also with the London Symphony (London), Rafael Kubelik’s with the Berlin Philharmonic (Deutsche Grammophon), James Levine’s with the Dresden Staatskapelle (Deutsche Grammophon), Kurt Masur’s with the New York Philharmonic (Teldec), Václav Neumann’s with the Czech Philharmonic (Supraphon), George Szell’s with the Cleveland Orchestra (Sony Classical), and Václav Talich’s with the Czech Philharmonic (Supraphon).

Marc Mandel

week 2 read and hear more 49 NICE PEOPLE ~ FINE MERCHANDISE ~ OLD-FASHIONED SERVICE ~ AND THE 2 BEST-LOOKING GOLDEN RETRIEVERS YOU’VE EVER SEEN

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Marcelo Lehninger

Born in Brazil, Marcelo Lehninger was appointed assistant conductor of the Boston Symphony Orchestra by James Levine; he occupies the BSO’s Anna E. Finnerty Chair, endowed in perpetuity. Now in his third season as a BSO assistant conductor, he was recently named music director of the New West Symphony Orchestra in Los Angeles, a post he assumed this fall. Mr. Lehninger made his BSO debut in October 2010 and in March 2011 substituted for Mr. Levine at short notice to conduct the first performances of Harrison Birtwistle’s BSO-commissioned Violin Concerto with soloist Christian Tetzlaff in Boston and at New York’s Carnegie Hall. He led two subscription programs with the BSO during the 2011-12 season, including substituting for Andris Nelsons to conduct the U.S. premiere of Mark-Anthony Turnage’s trumpet concerto From the Wreckage with soloist Håkan Hardenberger. At Tanglewood this past summer he made his debut with the Tanglewood Music Center Orchestra in Ozawa Hall and also led his first Tanglewood concert with the BSO, with Brazilian pianist Nelson Freire as soloist. Mr. Lehninger has served as cover conductor for the National Symphony Orchestra’s subscription concerts at the Kennedy Center in Washington, D.C., and as associate conductor of the Minas Gerais Philharmonic Orchestra in Brazil. In 2007-08 he was music advisor of the Youth Orchestra of the Americas, of which Plácido Domingo is artistic advisor. Mr. Lehninger placed second in the first Eleazar de Carvalho National Conducting Competition in Rio de Janeiro in 2001, subsequently leading all of the top orchestras in Brazil. In the United States he has led the Boston, Houston, National, New West, Hartford, Fairfax, and Jacksonville symphony orchestras; he made his Canadian debut in 2011 with the Hamilton Philharmonic. An alumnus of the National Conducting Institute, he made his debut with the National Symphony Orchestra

week 2 artists 51 in 2007 and was invited to conduct the NSO again the following year. Chosen by Kurt Masur, Marcelo Lehninger was awarded the first Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation in 2008, spending one month as Mr. Masur’s assistant with the Orchestre National de France, the Gewandhaus Orchestra in Leipzig, and the New York Philharmonic. He participated in the 2009 Malko Competition for Young Conductors in Denmark, leading the Danish Radio Symphony Orchestra at Copenhagen’s Koncerthuset; he also participated in the 2011 Bruno Walter National Conductor Preview, con- ducting the Louisiana Philharmonic. Upcoming appearances include reengagements with the New West and São Paulo State symphony orchestras and the Minas Gerais and Hamilton philharmonic orchestras, and debuts with the New Jersey and Elgin symphony orchestras. Mr. Lehninger holds a master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting under Harold Farberman and composition with Laurence Wallach. In Brazil he studied with Roberto Tibiriçá, and he has also participated in master classes with Kurt Masur, Leonard Slatkin, Marin Alsop, Moche Atzmon, and Andreás Weiss. A citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of pianist Sônia Goulart and violinist Erich Lehninger. He, his wife Laura, and their daughter Sofia divide their time between Boston and Los Angeles. For more information, please visit marcelolehninger.com

Joshua Bell

Joshua Bell is the recipient of the Avery Fisher Prize and music director of the Academy of St. Martin in the Fields. Their first United States tour garnered rave reviews, and their plan to perform and record all the Beethoven symphonies will begin with a recording of symphonies 4 and 7. Mr. Bell’s 2012 summer appearances included the premiere of Edgar Meyer’s new con- certo for violin and double bass, performed by Messrs. Bell and Meyer at Tanglewood, Aspen, and the Hollywood Bowl. He also appeared at the Festival del Sole, and the Ravinia, Verbier, Salzburg, Saratoga, and Mostly Mozart festivals. In 2012-13 he opens the San Francisco Symphony’s season, followed by performances with the orchestras of Philadelphia, Boston, Seattle, Omaha, Cincinnati, and Detroit. Fall highlights also include a tour of South Africa, a European tour with the Academy of St. Martin in the Fields, and a European recital tour with

week 2 artists 53 Sam Haywood. Next year brings a United States tour with the Cleveland Orchestra, a European tour with the New York Philharmonic, and performances with the Tucson, Pittsburgh, San Diego, and Nashville symphonies. Mr. Bell has released more than forty CDs and currently records exclusively for Sony Classical. “French Impressions,” his new sonata album (music of Ravel, Saint-Saëns, and Franck) with Jeremy Denk, was released in January 2012. Recent releases include the soundtracks to For Colored Girls and Defiance, “At Home With Friends,” Vivaldi’s The Four Seasons, Tchaikovsky’s Violin Concerto, The Red Violin Concerto, “The Essential Joshua Bell,” “Voice of the Violin,” and “Romance of the Violin.” In 2004 Billboard named “Romance of the Violin” its Classical CD of the Year and Mr. Bell Classical Artist of the Year. Since his first LP recording at age eighteen, he has made critically acclaimed recordings of the Beethoven and Mendelssohn concertos (both featuring his own cadenzas), the Sibelius and Goldmark concertos, and the Nicholas Maw concerto. His recording “Gershwin Fantasy” premiered a new work for violin and orchestra based on themes from Gershwin’s Porgy and Bess. Its success led to an all-Bernstein recording that included the premiere of the West Side Story Suite as well as a new recording of the composer’s Serenade. Mr. Bell and his two sisters grew up on a farm in Bloomington, Indiana. As a child he was an avid computer game player and a competitive athlete. By age twelve he was serious about the violin, inspired by his beloved teacher Josef Gingold. He has made numerous television appearances (including five PBS “Live from Lincoln Center” broadcasts) and has been profiled in many publications. His alma mater, Indiana University, honored him with a Distinguished Alumni Service Award only two years after his graduation in 1989. In 2011 he received the Paul Newman Award from Arts Horizons and the Huberman Award from Moment Magazine. Named 2010 Instrumentalist of the Year by Musical America, he has performed for President Obama at Ford’s Theatre and the

54 White House, and recently returned to the Capitol to perform for Vice-President Biden and the Vice-President of the People’s Republic of China, Xi Jinping. Joshua Bell performs on the 1713 Gibson ex Huberman Stradivarius violin and uses a late-18th-century French bow by François Tourte. For more information, please visit www.joshuabell.com. Joshua Bell has appeared regularly with the Boston Symphony Orchestra since his Tanglewood debut in July 1989, including performances at Symphony Hall, Tanglewood, Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center. His most recent BSO subscription appearances were in November 2009, when he was soloist in the Brahms Violin Concerto; his most recent Tanglewood appearance was this past July, as soloist in Ravel’s Tzigane and the world premiere, with double bass player Edgar Meyer, of Meyer’s Double Concerto for Violin, Double Bass, and Orchestra.

Hawthorne String Quartet

Named for New England novelist Nathaniel Hawthorne, the Hawthorne String Quartet includes Boston Symphony Orchestra members Ronan Lefkowitz and Si-Jing Huang, violins, Mark Ludwig, viola, and Sato Knudsen, cello. Since its inception in 1986, the ensemble has performed exten- sively throughout Europe, South America, Japan, and the United States, including appearances at such major festivals as Tanglewood, Ravinia, and Aspen. The group’s expansive repertoire ranges from 18th- and 19th-century classics to contemporary works. It has distinguished itself internationally by championing the works of composers persecuted during the Nazi regime, with an emphasis on the Czech composers incarcerated in the Terezín concentration camp. In October 1991, the quartet performed in Terezín and Prague in ceremonies hosted by President Václav Havel to mark the opening of the Terezín Ghetto Museum and to commemorate the 50th anniversary of the first transports to Terezín. In November 2002 they performed addi- tional concerts at the invitation of President Havel and under the sponsorship of the U.S. State Department, to help raise funds for Czech flood relief and restoration efforts at Pamatník Terezín. Maintaining a close bond with the Czech Republic, the quartet has returned repeatedly

week 2 artists 55 for performances, master classes at the Prague Conservatory, and recording projects. The Hawthorne Quartet’s recordings include chamber music by the American composers Arthur Foote, Samuel Coleridge-Taylor, Thomas Oboe Lee, and David Post, as well as several motion picture and documentary soundtracks. The group has also performed in radio and television programs worldwide, and in documentaries, including the recent “Terezín: Resistance and Revival” and “Creating Harmony.” Their CD “Chamber Music from Theresienstadt” won the Preis der Schallplattenkritik. Other recordings include “Silenced Voices” (Northeastern Records), with newly recovered music of composers persecuted during World War II; string quartets by Pavel Haas and Hans Krása (part of London/Decca’s “Entartete Musik” project), and Ervín Schulhoff’s Concerto for Solo String Quartet and Chamber Orchestra (also in the “Entartete Musik” series). The quartet gave the American premiere of Schulhoff’s concerto with Seiji Ozawa and the Boston Symphony Orchestra, performing it subsequently with the National Symphony and Juilliard orchestras and in its German premiere with the Deutsche Kammerphilharmonie. The ensemble will perform the concerto with Thomas Wilkins and the Omaha Chamber Orchestra later this month The Hawthorne String Quartet has also collabo- rated with Christopher Hogwood, Ned Rorem, André Previn, Sir Simon Rattle, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Martha Argerich, and the Pilobolus Dance Company; it has made solo appearances with the Boston Symphony, National Symphony, Juilliard Orchestra, and Deutsche Kammerphilharmonie. In addition to the commissioning and performance of new chamber works, the Hawthorne Quartet is committed to education programs produced by the Terezín Music Foundation, a non-profit organization committed to the preservation of the his- tory and music of composers who perished in the Holocaust. Founded by violist Mark Ludwig (a Fulbright scholar in Holocaust music), the Foundation preserves this rich musical legacy— through education programs, residencies, and the commissioning of works by emerging com- posers—as a memorial to the rich creative spirit and determination of the Terezín composers. Upcoming educational programs include a residency in Omaha, Nebraska, consisting of workshops, master classes, and concerts examining Holocaust music and art. For more information on the Hawthorne Quartet and Terezín Music Foundation activities, please visit terezinmusic.org.

week 2 artists 57 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • 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 • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack ‡ Fitzpatrick • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

58 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • 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 • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. ‡ and Mrs. William H. Congleton • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (10)

‡ Deceased

week 2 the great benefactors 59 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 15, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Peter and Anne Brooke • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous

encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O'Block • Drs. Joseph J. and Deborah M. Plaud • William and Lia Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2)

maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Mr. and Mrs. John M. Bradley • Lorraine D. and Alan S. ‡ Bressler • William David Brohn • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Diddy and John Cullinane • Mr. and Mrs. Miguel de Bragança • Happy and Bob Doran •

60 Julie and Ronald M. Druker • Thomas and Winifred Faust • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Maureen and Joe Roxe/The Roxe Foundation • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters patron $10,000 to $14,999 Amy and David Abrams • Ms. Lucille M. Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Dr. Lawrence H. and Roberta Cohn • Mrs. William H. Congleton • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O'Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (4) sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Jim and Virginia Aisner • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Judith and Harry Barr • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • The Cavanagh Family • Ms. Carol Feinberg Cohen • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Donna and Don Comstock • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Tamara P. and Charles H. Davis II • Jonathan and Margot Davis • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Larry and Atsuko Fish • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Mr. and Mrs. Mark Goldweitz • Raymond and Joan Green • Vivian and Sherwin Greenblatt • John and Ellen Harris • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Albert A. Holman III and Susan P. Stickells •

week 2 the higginson society 61 Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Rosemarie and Alexander Levine • Christopher and Laura Lindop • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Kristin A. Mortimer • Mr. and Mrs. Rodger P. Nordblom • William A. Oates • Mr. and Mrs. Joseph O'Donnell • Mr. and Mrs. Peter Palandjian • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Cynthia and Grant Schaumburg • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • Marian and Dick Thornton • Blair Trippe • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Jay A. Winsten and Penelope J. Greene • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Anonymous (7)

member $3,000 to $4,999 Mrs. Herbert Abrams • Mariann and Mortimer Appley • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • John and Molly Beard • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi • Annabelle and Benjamin Bierbaum • Mr. and Mrs. James L. Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush • Mr. and Mrs. Kevin T. Callaghan • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Mr. and Mrs. Dan Ciampa • Mr. and Mrs. Ronald C. Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I. W. Colburn • Marvin and Ann Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Robert and Sara Danziger • Drs. Anna L. and Peter B. Davol • Ms. Ashley W. Denton • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. Harriett M. Eckstein • Mrs. William V. Ellis • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell •

62 Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Mary and Melvin Field • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Mr. Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Jordan and Sandy Golding • Roberta Goldman • Adele C. Goldstein • Mr. Jack Gorman • Phyllis and Robert Green • Harriet and George Greenfield • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • The Grossman Family Charitable Foundation • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Janice Harrington and John Matthews • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Joan B. Kennedy • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Mr. and Mrs. Robert A. Lawrence • Brenda G. Levy • Emily Lewis • Mrs. Satoru Masamune • Michael and Rosemary McElroy • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Mr. Andrew L. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mr. and Mrs. Robert T. O'Connell • Mr. and Mrs. Gerald F. O'Neil • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Josephine A. Pomeroy • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Mr. and Mrs. Norton H. Reamer • John S. Reidy • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Arnold Roy • Arlene and David T. Rubin • Jordan S. Ruboy, M.D. • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Norma and Roger A. Saunders • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Robert E. Scully, M.D. • Mr. and Mrs. Richard F. Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Mr. and Mrs. Galen L. Stone • Mr. Henry S. Stone • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl • Jeanne and John Talbourdet • John Lowell Thorndike • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Dr. Magdalena Tosteson • Diana O. Tottenham • Marc and Nadia Ullman • Martha Voisin • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mrs. Mary Wilkinson-Greenberg • J. David Wimberly • Chip and Jean Wood • Mrs. Jane S. Young • Dr. and Mrs. Nicholas T. Zervas • Anonymous (11)

week 2 the higginson society 63

Administration

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

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 2 administration 65 66 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 2 administration 67 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist public relations

Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships • Laurence Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 2 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Membership Table/Hall Greeters, Elle Driska • Instrument Playground, Beverly Pieper • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 2 administration 71 Next Program…

Thursday, October 11, 8pm Friday, October 12, 1:30pm Saturday, October 13, 8pm

vladimir jurowski conducting

mendelssohn violin concerto in e minor, opus 64 Allegro molto appassionato Andante Allegretto ma non troppo—Allegro molto vivace arabella steinbacher

{intermission}

shostakovich symphony no. 4 in c minor, opus 43 Allegretto poco moderato Moderato con moto Largo—Allegro

FRIDAY PREVIEW TALK (OCTOBER 12) BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARCMANDEL

Making his Boston Symphony debut, Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra, is joined by German violinist Arabella Steinbacher for Mendelssohn’s sparkling Violin Concerto. Though the concerto is now a familiar repertoire staple, its solo-violin opening and three movements flowing together without pause were quite unusual for their time. The program concludes with Shostakovich’s Symphony No. 4, a dark but powerfully majestic work the composer finished in 1936. Due to fears of official condemnation, Shostakovich with- drew the work prior to its premiere, instead writing the universally acclaimed, heroic Fifth the following year. The Fourth waited another quarter-century for its first performance.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

72 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘D’ October 11, 8-10:10 Thursday ‘D’ October 25, 8-10:10 Friday ‘B’ October 12, 1:30-3:40 Underscore Friday October 26, 8-10:20 Saturday ‘B’ October 13, 8-1010 (includes comments from the stage) Saturday ‘A’ October 27, 8-10:10 VLADIMIRJUROWSKI, conductor ARABELLASTEINBACHER, violin CHARLESDUTOIT, conductor OLGA PERETYATKO, soprano (The Nightingale) MENDELSSOHN Violin Concerto JULIEBOULIANNE, mezzo-soprano (The Child) SHOSTAKOVICH Symphony No. 4 SANDRINEPIAU, soprano DIANAAXENTII and YVONNENAEF, mezzo- sopranos Thursday ‘B’ October 18, 8-9:55 EDGARASMONTVIDAS and JEAN-PAUL Friday ‘A’ October 19, 1:30-3:25 FOUCHÉCOURT, tenors Saturday ‘B’ October 20, 8-9:55 DAVID KRAVITZ, KELLY MARKGRAF, and Tuesday ‘B’ October 23, 8-9:55 DAVID WILSON-JOHNSON, baritones CHARLESDUTOIT, conductor MATTHEW ROSE, bass NIKOLAILUGANSKY, piano TANGLEWOOD FESTIVAL CHORUS, ELIZABETHROWE, flute JOHNOLIVER, conductor JOHNFERRILLO, oboe STRAVINSKY The Nightingale, Opera in WILLIAMR.HUDGINS, clarinet three acts RICHARDSVOBODA, bassoon RAVEL L’Enfant et les sortilèges, Lyric JAMESSOMMERVILLE, horn fantasy in two parts THOMASROLFS, trumpet Concert performances, sung in Russian (Stravinsky) TOBYOFT, trombone and French (Ravel) with English supertitles DEBUSSY Symphonic Fragments from The Martyrdom of Saint Sebastian Thursday ‘C’ November 1, 8-10:15 MARTIN Concerto for Seven Wind Friday ‘B’ November 2, 1:30-3:45 Instruments, Timpani, Percussion, and String Orchestra Saturday ‘A’ November 3, 8-10:15 Tuesday ‘C’ November 6, 8-10:15 RACHMANINOFF Piano Concerto No. 3 JUANJOMENA, conductor GILSHAHAM, violin SAARIAHO Circle Map, for orchestra and electronics (American premiere; BSO co-commission) BRITTEN Violin Concerto DVORÁKˇ Symphony No. 7

Programs and artists subject to change.

week 2 coming concerts 73 Symphony Hall Exit Plan

74 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. 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, or to make a reservation and then send payment by check, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. 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

week 2 symphony hall information 75 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, Thursday, and Friday 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, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, 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 $75 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. Business for BSO: 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) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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