Boston Symphony Orchestra Summer 2015

summer 2015

boston symphony orchestra andris nelsons music director

Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

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

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

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit celebrates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conductors, as well as a vast Instrumental Fellows give a spontaneous number of distin- lunchtime concert on the Tanglewood grounds guished composers and in 1949 (Howard S. Babbitt, Jr./BSO Archives) other visiting artists on the TMC faculty.

BSO Music Director and TMC founder Serge First page of the manuscript score of Randall Koussevitzky flanked by two of his conducting Thompson’s “Alleluia,” which was composed students—Leonard Bernstein (left) and Eleazar for the Opening Exercises of the Berkshire de Carvalho—who later became members of Music Center’s inaugural session in 1940 the faculty (Heinz Weissenstein, Whitestone (BSO Archives) Photo/BSO Archives)

The Tanglewood Music Center 75th Anniversary Archival Exhibits are made possible by a generous gift from the Claudia and Steven Perles Family Foundation.

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are permitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infrastructure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert and that during Shed concerts, children may play ball only behind the Visitor Center or near Ozawa Hall. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, all bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible rest- rooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $32 (front and boxes) and $22 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2015

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). He is the fifteenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from concert performances at Symphony Hall in the fall of 2014—was released earlier this season on BSO Classics. Also this season, he and the BSO, in collaboration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, following the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will con- tinue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a production by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

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

Table of Contents

Friday, August 7, 6pm (Prelude Concert) 3 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA; FELLOWS OF THE TANGLEWOOD MUSIC CENTER All-Dvoˇrák program

Friday, August 7, 8:30pm 6 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting; LEONIDAS KAVAKOS, violin Music of Ravel, Sibelius, and Stravinsky

Saturday, August 8, 8:30pm TMC 75th Anniversary Gala 19 TANGLEWOOD MUSIC CENTER ORCHESTRA ANDRIS NELSONS conducting; ERIN WALL, CHRISTINE GOERKE, ERIN MORLEY, LIOBA BRAUN, JANE HENSCHEL, KLAUS FLORIAN VOGT, MATTHIAS GOERNE, and AIN ANGER, vocal soloists; TANGLEWOOD FESTIVAL CHORUS; BOSTON UNIVERSITY TANGLEWOOD INSTITUTE CHORUS; AMERICAN BOYCHOIR Mahler Symphony No. 8

Sunday, August 9, 2:30pm 45 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting; JOSHUA BELL, violin Music of Mussorgsky, Glazunov, and Berlioz

Sunday, August 9, 8pm 53 YO-YO MA, cello; EMANUEL AX, piano All-Beethoven program: The complete sonatas for cello and piano

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 7, are soprano Christine Goerke and violinist Leonidas Kavakos.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

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

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

TANGLEWOODWEEK 6 TABLEOFCONTENTS 1 2 2015 Tanglewood

Prelude Concert Friday, August 7, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

STRING PLAYERS FROM THE BOSTON SYMPHONY ORCHESTRA MALCOLM LOWE, TAMARA SMIRNOVA, ALEXANDER VELINZON, ELITA KANG, LUCIA LIN, IKUKO MIZUNO, JENNIE SHAMES, and AZA RAYKHTSAM, first violins HALDAN MARTINSON, JULIANNE LEE, SHEILA FIEKOWSKY, BONNIE BEWICK, JAMES COOKE, VICTOR ROMANUL, GLEN CHERRY, and ALA JOJATU, second violins STEVEN ANSELL, CATHY BASRAK, WESLEY COLLINS, RACHEL FAGERBURG, REBECCA GITTER, and KATHRYN SIEVERS, violas JULES ESKIN, OWEN YOUNG, BLAISE DÉJARDIN, and ALEXANDRE LECARME, cellos BENJAMIN LEVY and THOMAS VAN DYCK, double basses

FELLOWS OF THE TANGLEWOOD MUSIC CENTER ANSEL NORRIS, REBECCA OLIVERIO, AUSTIN WILLIAMS, and DANIEL HENDERSON, trumpets BRIAN MALONEY, timpani

ALL-DVORˇ ÁK PROGRAM

Fanfares for Four Trumpets and Timpani (1891) FELLOWS OF THE TANGLEWOOD MUSIC CENTER

Notturno in B for Strings (Molto Adagio), Opus 40

Serenade in E for Strings, Opus 22 Moderato Tempo di valse Vivace Larghetto Allegro vivace

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

TANGLEWOODWEEK 6 PRELUDEPROGRAM 3 NOTES ON THE PROGRAM

The Nocturne in B major by Antonin Dvoˇrák (1841-1904) owes its existence to the composer’s persistence in finding its tranquil tune a proper home. It was originally the slow movement, marked “Andante religioso,” of an early string quartet in E minor, and there is a hint of plainchant flow in the parallel octaves from the cellos and double basses that begin the piece. The Nocturne also briefly had a place as a movement in a G major string quintet, but Dvoˇrák finally cemented it as a standalone piece for string orchestra in 1883, after the popularity of his Slavonic Dances drove his publisher, Simrock, to ask him for more music. A reduction for violin and piano was also published. The composer himself led the first performance of the Nocturne on April 22, 1885, in the same London Philharmonic concert that included the premiere of his Symphony No. 7. The piece lasts approximately seven minutes. After the opening statement, the first violins pick up the meandering melody and develop it over gentle susurrations in the second violins and violas, subdued pizzicatos in the double basses, and an extended pedal F-sharp in the cello. A more energetic episode follows, with flutter- ing dialogues between the first and second violins. The coda returns to the initial luminous calm. Dvoˇrák composed two serenades, one for string orchestra in 1875, and the other for winds in 1878. The earlier work reflects the thirty-four-year-old composer’s experience with the string quartet, a medium that he found congenial for artistic experimenta- tion. He had already written seven quartets, some of which he chose not to publish (they were brought out many years after his death). He was himself an accomplished violin and viola player, so writing for strings came naturally to him. The rapid composition of the Serenade—it took just a week-and-a-half to write—was part of a burst of compositional energy that flowed out of him after he had won the Austrian State Stipendium that the Ministry of Education offered to young, poor, but talented artists in the western half of the empire. At the age of thirty-three, the young Dvoˇrák submitted no fewer than fifteen compositions to the judging committee, which included Brahms. The jury’s report, noting that he was “completely without means,” mentioned among his works “symphonies and overtures for full orches-

4 tra which display an undoubted talent, but in a way which as yet remains formless and unbridled.” He was awarded 400 gulden. This official recognition, modest through it was, encouraged him so much that in the space of three months he finished his half-written quintet in G for string quartet and double bass, and then composed four Moravian Duets, a piano trio in B-flat, the Serenade in E for strings, a piano quartet in D, and his Fifth Symphony. The lyric and spirited qualities of the serenade may have been influenced by the early happy years of Dvoˇrák’s marriage, soon to be saddened by the deaths, within the space of a year, of three children (which led to the composition of his Stabat Mater). But such sorrows were in the future when Dvoˇrák penned this affirmative and charming score. As befits the title “Serenade,” Dvoˇrák avoids tightly argued musical discourse, concentrating instead on movements in ABA song form, but with links to provide continuity. Still, as if to emphasize that even when writing a serenade he would not forget the technical side of his art, he employs canonic imitation— that is, a theme that echoes itself for its accompaniment—in four of the five movements. The leisurely breadth of the opening Moderato could easily suggest the pleasure that the composer took in a Bohemian landscape, and the divided violas and cellos provide rich sonority. The piquant Tempo di valse (No. 2) introduces a yearning, gentle melody in its Trio section, shifting from minor to major (the Trio melody becomes canonic at its repetition). The scherzo, which begins canonically, reverses the waltz’s harmonic plan, since it opens with an infectiously cheerful main section, which is contrasted to a pensively minor-key trio. The famous Larghetto theme (used virtually intact in Fellini’s La Strada) is closely related to the yearning mid- section of the waltz movement. The finale (Allegro vivace) opens in a foreign key, F-sharp minor, rather than the expected E major; this was a device that Dvoˇrák experimented with in a number of works during the mid-1870s. It also begins with a canonic theme. Its high-spirited romping makes brief references to music heard earlier before reaching its energetic conclusion.

Notes by ZOË MADONNA (Nocturne, Opus 40) and STEVEN LEDBETTER (Serenade for Strings, Opus 22) Recipient of the Arno and Maria Maris Student Memorial Fellowship this summer, Zoë Madonna is the Tanglewood Music Center’s 2015 Publications Fellow. She is a graduate of Oberlin College and was awarded the 2014 Rubin Prize for Music Criticism. Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

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

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 5 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, August 7, 8:30pm THE SERGE AND OLGA KOUSSEVITZKY MEMORIAL CONCERT

CHARLES DUTOIT conducting

RAVEL “Mother Goose” Suite Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Fairy Garden

SIBELIUS Violin Concerto in D minor, Opus 47 Allegro moderato Adagio di molto Allegro, ma non tanto LEONIDAS KAVAKOS

{Intermission}

STRAVINSKY “Petrushka,” Burlesque in four scenes (original version, 1911) The Shrove-Tide Fair Petrushka’s Room The Moor’s Room The Shrove-Tide Fair (toward evening) VYTAS BAKSYS, piano

The performance of Sibelius’s Violin Concerto is supported by a gift from Judy and Richard J. Miller in honor of Julius Schachter.

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

6 NOTES ON THE PROGRAM

Maurice Ravel (1875-1937) “Mother Goose” Suite First performance of the complete orchestral score (portions of the piece being written originally for piano four-hands in the years 1908-10, then expanded and orchestrated by Ravel in 1911 as a ballet): January 1912, Théâtre des Arts, Paris. First BSO performance of the suite: December 26, 1913, Karl Muck cond. First Tanglewood performance of the suite: August 7, 1938, Serge Koussevitzky cond. First BSO performance of the complete score: April 21, 1974, Seiji Ozawa cond. (the more familiar suite having been performed much more frequently by the BSO over the years). Most recent Tanglewood performance of the suite: July 24, 2011, Emmanuel Krivine cond. As an adult Ravel could and did penetrate the world of childhood as few composers before or since. It may be that this empathy came through a shared passion for toys—especially the mechanical kind—or simply because Ravel, who was always painfully sensitive about his small stature, felt more comfortable with persons still smaller than himself. His empathy for a child’s point of view is especially apparent in his masterly and charming opera L’Enfant et les sortilèges (The Child and the Magic Spells), which deals with the experience of a naughty child whose long-mistreated toys come to life to teach him a lesson. (Ravel’s opera is patently a major source of musical inspiration for the delightful contemporary opera Where the Wild Things Are, with music by Oliver Knussen to a libretto by Maurice Sendak.) Ravel’s sensitivity is also revealed in his response to a series of illustrations of French fairy tales that he used as the basis for a suite of simple four-hand piano pieces called Ma Mère l’oye (Mother Goose) designed as a gift for Mimi and Jean Godebski, the children of his friends Ida and Cipa Godebski. The children were fairly accomplished pianists, though the work Ravel wrote for the two of them to play together risks slightness of substance in its simplicity of technique. Nonetheless it is charming and clearly characterized throughout. The most famous writer of fairy tales in France was Charles Perrault (1628-1703), who was responsible for adapting many folk tales to the taste of the aristocrats in the court of Louis XIV, among them the stories of Bluebeard and his many wives and Little Red Riding Hood. It was Perrault’s 1697 book Histoires ou contes du temps passé avec des moralités (Stories or tales of the olden times, with morals) that became known popularly in France as “Mother Goose”; yet Perrault provided only two of the tales for Ravel’s suite and ballet: “The Sleeping Beauty” and “Hop o’ my Thumb.” The Countess d’Aulnoy, a contemporary imitator of Perrault, was the source for “Laideronette (The Ugly Little Girl), Empress of the Pagodas”; and the familiar tale of “Beauty and the Beast” came from a later book, Magazin des Enfants, Contes Moraux (Children’s Treasury of Moral Tales), published by Marie Leprince de Beaumont in 1757. The Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) is a graceful dance, exceedingly brief and almost totally diatonic, despite Ravel’s reputation for chromaticism. Petit Poucet (Tom Thumb) evokes little Tom Thumb lost in the forest and casting out breadcrumbs to leave a trail for himself, only to find that the birds have eaten them all up. This movement is ﬁlled with marvels of ingenious invention: the melody representing poor Tom proceeding from 2/4 to 3/4 to 4/4 to 5/4 in meter, as he gets progressively more bewildered and lost; the scattering of crumbs in an unending sequence of thirds from the vio-

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 7 lins; and the chirping of the birds that eat them up in a series of complicated violin harmonics. Laideronnette, impératrice des pagodes (Laideronette, Empress of the Pagodas) indulges in a bit of orientalism (in the original piano version, the upper part was written entirely for the black keys of the piano, producing auto- matically a pentatonic melody), with repetitive figures in the percussion lend- ing a genuinely eastern air. Les Entretiens de la belle et de la bête (Conversations of Beauty and the Beast) has generally been regarded as the favorite movement of the suite, if only because of the unchanging popularity of the fairy tale that inspired it. Beauty has a graceful waltz, to which the Beast contributes some inevitable growling. Le Jardin féerique (The Fairy Garden) concludes the suite with the same kind of quiet and utter simplicity as characterized the opening. The orchestration of Ravel’s delicate four-hand piano suite came about at the instigation of Jacques Rouché, who was the director of the Théâtre des Arts and who hoped to persuade Ravel to write a full-scale ballet with which French art might compete with Diaghilev’s Ballets Russes, which had been enjoying sensational success (with, among other things, the epoch-making early ballets of Stravinsky). The best Rouché could get out of Ravel was the promise to orchestrate Ma Mère l’oye into a ballet. For this purpose Ravel devised a frame based on the story of Sleeping Beauty to begin and end the ballet, with the remaining fairy tales becoming, as it were, the dreams of the sleeping princess. In order to accomplish this, Ravel connected the scenes with interludes and added a prologue and a first scene as well. But it is typically the five-movement suite, the orchestral version of Ravel’s children’s piece, illuminated by his palette of colors bright and muted, that has captured public favor and keeps his nursery-rhyme score in performance.

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

Jean Sibelius (1865-1957) Violin Concerto in D minor, Opus 47 First performance: (original version) February 8, 1904, Helsinki, Sibelius cond., Viktor Nováˇcek, soloist; (revised version) October 19, 1905, Berlin, Richard Strauss cond., Karl Halir, soloist. First BSO performance : April 1907, Karl Muck cond., Maud Powell, soloist. First Tanglewood performance : August 5, 1960, Charles Munch cond., Ruggiero Ricci, soloist. Most recent Tanglewood performance: August 9, 2013, Christoph von Dohnányi cond., Gil Shaham, soloist. In no violin concerto is the soloist’s first note—delicately dissonant and off the beat—so beautiful. Indeed, in September 1902, Sibelius wrote to his wife that he had just had “a marvelous opening idea” for such a concerto. But even with that inspired start, the history of the work was troubled. Sibelius was drinking heavily and seemed virtually to be living at Kämp’s and König’s restaurants. He was limitlessly resourceful when it came to finding ways of running from this work in progress. He behaved outrageously to Willy Burmester, the German violinist who had been concertmaster in Helsingfors for a while in the ’90s, who admired Sibelius and was ambitious on his behalf, who stirred him up to compose a violin concerto, and who of course hoped to give its first performance. Sibelius sent the score to Burmester (“Wonderful! Masterly! Only

8 once before have I spoken in such terms to a composer, and that was when Tchaikovsky showed me his concerto!”), let word get out that the work would be dedicated to him, but at the same time pushed for a premiere at a time when Burmester was not free or would not have had time to learn a piece that in its original form was still more difficult than it is now. Viktor Nováˇcek—not to be confused with the better- known Ottokar Nováˇcek, composer of a popular Perpetuum mobile—was a violin teacher of no distinction and without reputation as a performer. That he would fail with the concerto was a foregone conclusion, yet that was the destructive path Sibelius chose. After the premiere, Burmester offered his services once again for a series of performances in October 1904—“All my twenty-five years’ stage experience, my artistry and insight will be placed to serve this work...I shall play the concerto in Helsingfors in such a way that the city will be at your feet”—only to find himself passed over again, this time in favor of Karl Halir, concertmaster in Berlin, a former member of the famous Joachim Quartet, and himself a quartet leader of great distinction. Moreover, the dedication ﬁnally went to Ferenc von Vecsey, a Hungarian violinist born in 1893, who, in his prodigy days, had been one of the concerto’s earliest champions. From Bach to Bartók, many of the great keyboard concertos have been written by composers for themselves. Rather more of the signiﬁcant violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at fourteen, but then, “the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition, to become a great virtuoso.” In fact, aside from the handicap of the late start and the provincial level of even the best teaching available to him in Finland, he had neither the gift of physical coordination nor the appropriate temperament. In 1890-91, when he was studying composition in Vienna with Robert Fuchs and Karl Goldmark, he played in the orchestra at the conservatory (its intonation gave him headaches) and on January 9, 1891, auditioned for the Vienna Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterwards he sat at the piano and began to practice scales.” With that he gave up, though a diary entry for 1915 records a dream of being twelve and a virtuoso. The concerto is, in any event, imbued both with his feeling for the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.” The two violin concertos that most extraordinarily explore the structural and expressive potential of cadenzas are Elgar’s and Schoenberg’s. Without intending anything

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 9 as theatrical or fantastic, Sibelius assigns a role of unprecedented importance to his first-movement cadenza, which, in fact, takes the place and function of the development section. What leads up to that crucial point is a sequence of ideas beginning with the sensitive, dreamy melody that introduces the voice of the soloist and continuing (via a short cadenza of a conventional sort) with a declamatory statement upon which Sibelius’s mark is ineluctable, an impassioned, superviolinistic recitation in sixths and octaves, and so to a long tutti that slowly subsides from furious march music to wistful pastoral to darkness. Out of that darkness the cadenza erupts. It is an occasion for sovereign bravura, and at the same time it is brilliantly, imaginatively, and economically composed. Whether comparing his own work with the Brahms concer- to, which he first heard in Berlin in January 1905, or, many years later, with the Pro- kofiev D major, Sibelius set store by having composed a soloistic concerto rather than a symphonic one. True, there is none of the close-knit dialogue characteristic of the greatest classical concertos from Mozart to Brahms: Sibelius opposes rather than meshes solo and orchestra (or the orchestra as accompanist). True also that the Sibelius is one of the really smashing virtuoso concertos. It would be a mistake, though, to associate it with the merely virtuosic tradition represented by the concertos of, say, Tchaikovsky and Bruch (and perhaps even the elegant Mendelssohn). This first movement with its bold sequence of disparate ideas, its quest for the unity behind them, its drastic substitute for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes of uncommon originality, is one in which the breath of the symphonist is not to be mistaken. The second and third movements proceed from another level of ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. Between its introductory measures and the main theme there is a fascinating disparity. Clarinets and oboes in pairs suggest an idea of rather tentative tone (and surprisingly Wagnerian cast), a gentle beginning leading to the entry of the solo violin and to a melody of vast breadth. It is to be played sonoro ed espressivo. It speaks in tones we know well and that touch us deeply, and it took me years of knowing it before I realized that the world, the gesture it evokes, is Beethoven’s, and particularly the Cavatina in the B-flat quartet, Opus 130. Sibelius himself never found, perhaps never sought such a melody again: this, too, is farewell. Very lovely, later in the movement, is the sonorous fantasy that accompa- nies the melody (now in clarinet and bassoon) with scales, all pianissimo, broken octaves moving up in the violin, and the soft rain of slow scales in flutes and plucked strings. “Evidently a polonaise for polar bears,” said Donald Francis Tovey of the finale. The charmingly aggressive main theme was an old one, going back to a string quartet from 1890. As the movement goes on, the rhythm becomes more and more giddily inventive, especially in matters of the recklessly across-the-beat bravura embellishments the soloist fires over the themes. It builds a drama that evokes the Dvoˇrák D minor symphony Sibelius so much enjoyed when he heard it in Berlin in 1890, to end in utmost and syncopated brilliance.

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.

10 Igor Stravinsky (1882-1971) “Petrushka,” Burlesque in four scenes (original version, 1911) First performance: June 13, 1911, Paris, Théâtre du Châtelet, Diaghilev’s Russian Ballet. First BSO performance: November 26, 1920, Pierre Monteux cond. First Tanglewood performance: August 12, 1948, Leonard Bernstein cond. Most recent Tanglewood performance: August 29, 2004, Charles Dutoit cond. In 1910 Stravinsky became the darling of Paris with a brilliant ballet, The Firebird, produced by Diaghilev’s Russian Ballet. The impresario had risked failure with a young and relatively unknown composer (Stravinsky turned twenty-eight a week before the premiere) and had enjoyed a resounding triumph. Naturally he wanted a new Stravinsky ballet for the following season, and was overjoyed with the proposed scenario, which promised wonderful richness of orchestral color and rhythmic energy: an exotic picture of life in prehistoric Russia featuring the sacrifice of a maiden chosen for the honor of dancing herself to death, for the fertility of the earth. After the Paris season ended, the young composer went with his family for a vacation in Switzerland, first to Vevey, then to Lausanne, with every intention of composing the new ballet. But his musical fantasy took an utterly unex- pected direction, and before starting the ballet (which eventually became Le Sacre du printemps), he wanted to compose something quite different. He had in mind a little concerto-like piece for piano and orchestra; his first image was of a romantic poet rolling two objects over the black and white keys, respectively, of the piano. Later the image became more detailed, with the piano representing a puppet suddenly come to life and cavorting up and down the keyboard, metaphorically thumbing his nose at the orchestra, which would finally explode in exasperation with overwhelming trumpet blasts. Having finished this little piece, Stravinsky hunted for a suitable title and was delighted when it occurred to him to call it Petrushka, after a puppet character (roughly the Russian equivalent of Punch) popular in Russian fairs. When Diaghilev came to visit, he was astonished when, instead of the sacrifice-ballet, Stravinsky played for him the music that became the second scene of Petrushka. Diaghilev immediately suggested a full ballet on the subject. The work was produced with the collaboration of designer Alexandre Benois, who entered enthusiastically into Stravinsky’s vision and to whom the score was ultimately dedicated. The choreography was by Michel Fokine. After its premiere on June 13, 1911, Petrushka became a banner work for the Russian Ballet, enjoying enormous success all over Europe and even in America. From the opening measure it positively dazzles the listener with its color and energy, and it moves with easy assurance between the “public” world of the fairground and the “private” world of Petrushka and his fellow puppets. Stu Rosner

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 11 The scenario is divided into four scenes, of which the first and last take place on the Admiralty Square in St. Petersburg during the 1830s during the Shrove-Tide fair (just before the beginning of Lent). These scenes are filled with incident and with elaborate overlays of musical figures representing the surge of characters coming and going at the fair. The second and third scenes of the ballet are interiors (set, respectively, in Petrushka’s room and the Moor’s room), devoted to the private emotional life of the puppet Petrushka, who is in love with the ballerina, while she in turn is enchanted by the Moor. Only at the very end of the work—when the Moor strikes Petrushka down with his scimitar; the showman demonstrates to the crowd that Petrushka’s “body” is nothing but a stuffed wooden puppet; and Petrushka’s ghost appears on the roof, thumbing his nose at all who have been taken in by his tricks—do the “public” and “private” worlds—or should one say “reality” and “fantasy”?—become entangled with one another.

STEVEN LEDBETTER

Guest Artists Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He conducts both the BSO and the Tanglewood Music Center Orchestra at Tanglewood and in the spring of 2013, substituting at short notice for Lorin Maazel, led the final three programs of the BSO’s 2013-14 subscription season, as well as, immediately following those concerts, the orchestra’s tour to China and Japan. Captivating audiences throughout the world, Maestro Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinctions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Symphony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden in London, the Metropolitan Opera in New York, Deutsche

12 Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

Leonidas Kavakos Recognized for his virtuosity and musicianship, Athens-born violinist Leonidas Kavakos was voted Gramophone magazine’s Artist of the Year 2014. Guided in his early violin studies by his parents, he later studied at the Hellenic Conservatory with Stelios Kafantaris, one of three important mentors, together with Josef Gingold and Ferenc Rados. He went on to win the 1985 Sibelius Competition and the 1988 Paganini and Naumburg competitions, successes that led to his making the first recording of the original version of Sibelius’s Violin Concerto, which earned a Gramophone Award. He now appears with the world’s great orchestras and conductors on both sides of the Atlantic. In his burgeoning career as a conductor, Mr. Kavakos has worked with the Maggio Musicale Fiorentino, London Symphony, Deutsches Symphonie-Orchester Berlin, the Chamber Orchestra of Europe, the Vienna Symphony, Budapest Festival, Finnish Radio Symphony, and Rotterdam Philharmonic orchestras. The current season brought return conducting engagements with the Boston Symphony and the Royal Stockholm Philharmonic, and his conducting debut with the Russian State Symphony. An exclusive Decca Classics recording artist, Leonidas Kavakos was honored for his first recording on that label, the complete Beethoven violin sonatas with Enrico Pace, as Instrumentalist of the Year at the 2013 ECHO Klassik Awards. The duo has performed the entire Beethoven cycle at New York’s Carnegie Hall, Salzburg Festival, Amsterdam Concertgebouw, in Hong Kong and Shanghai, and at the Beethovenfest Bonn. Subsequent Decca releases include the Brahms Violin Concerto with the Gewandhaus Orchestra under Chailly, and the Brahms violin sonatas with Yuja Wang, with whom Mr. Kavakos continues a series of Brahms recitals in Europe begun last season. Mr. Kavakos has always retained strong links with his native Greece. For fifteen years he curated a chamber music program at the Athens Concert Hall (the Megaron), which featured such musical colleagues as Mstislav Rostropovich, Heinrich Schiff, Emanuel Ax, Nikolai Lugansky, Yuja Wang, and Gautier Capuçon. In recent years he has curated an annual violin and chamber music master class in Athens, attracting violinists and ensembles from around the world. Mr. Kavakos is passionate about the art of violin- and bow-making (both past and present); he plays the “Abergavenny” Stradivarius violin of 1724 and owns modern violins made by F. Leonhard, S.P. Greiner, E. Haahti, and D. Bague. Bows by F.X. Tourte, D. Peccatte, J.P.M. Persois, and J. Henry are his most precious companions. Leonidas Kavakos made his Boston Symphony Orchestra debut in March 2007 as soloist in Bartók’s Violin Concerto No. 2 and his Tanglewood debut in August 2014 with Szyman- owski’s Violin Concerto No. 2. His most recent BSO appearances were as soloist and conductor for a subscription program of Bartók, Haydn, and Mussorgsky in November 2014. Last night he collaborated with Emanuel Ax and Yo-Yo Ma in an Ozawa Hall performance of the three Brahms piano trios.

TANGLEWOODWEEK 6 GUESTARTISTS 13

Tanglewood Gala Saturday, August 8, 2015

Gala Chairs Bonnie and Terry Burman Isanne and Sanford Fisher

Gala Committee

Liliana and Hillel Bachrach • Robert and Elana Baum • Gregory Bulger and Richard Dix • Katie and Paul Buttenwieser • Susan B. and Gerald Cohen • Charles Cooney and Peggy Reiser • Ranny Cooper and David Smith • Cynthia and Oliver Curme • Nancy Edman Feldman and Mike Chefetz • Beth and Richard Fentin • Cora and Ted Ginsberg • Martha and Todd Golub • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael Helfer • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Sandra G. Krakoff • Lizbeth and George Krupp • Joyce Linde • Jay and Shirley Marks • Jane and Robert Mayer, M.D. • Claudia and Steven Perles • Penny and Claudio Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mary Ann and Bruno A. Quinson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Georgeanne and Jean Rousseau • Annie Selke • Scott and Robert Singleton • Lauren Spitz • Margery and Lewis Steinberg • Jacqueline and Albert Togut • Stephen and Dorothy Weber

The Tanglewood Gala post-concert reception is supported by a generous gift from the Claudia and Steven Perles Family Foundation.

The Tanglewood Music Center 75th Anniversary Season is supported by leadership gifts from the Fromm Music Foundation, Lizbeth and George Krupp, Cynthia and Robert J. Lepofsky, Joyce Linde, the National Historical Publications and Records Commission, the Claudia and Steven Perles Family Foundation, Mrs. Millard H. Pryor, Jr., and Patty Plum Wylde; and by additional gifts from Robert and Elana Baum, Carol and George Jacobstein, June Wu, and other generous individuals and foundations. BSO Archives

TANGLEWOODWEEK 6 TANGLEWOODGALA 15 Tanglewood Gala Saturday, August 8, 2015 The Boston Symphony Orchestra recognizes with gratitude the following individuals and companies for their generous support that have helped make this year’s gala such a success.

$25,000 + Bonnie and Terry Burman * • Cynthia and Oliver Curme * • Michael L. Gordon * • Joyce Linde * • The Claudia and Steven Perles Family Foundation * $10,000 - $24,999 Beth and Richard Fentin * • Isanne and Sanford Fisher * • Martha and Todd Golub * • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael Helfer * • Kate and Hans Morris * • Stephen and Dorothy Weber * • Anonymous $5,000 - $9,999 Alli and Bill Achtmeyer • Liliana and Hillel Bachrach * • Mr. and Mrs. John M. Bradley • Katie and Paul Buttenwieser • Charles Cooney and Peggy Reiser * • Nancy J. Fitzpatrick and Lincoln Russell * • Valerie and Allen Hyman • Jane and Robert Mayer, M.D. • Claudio and Penny Pincus • Jonathan and Amy Poorvu • William and Lia Poorvu • Mary Ann and Bruno A. Quinson • The Annie Selke Companies * • Caroline and James Taylor • Jacqueline and Albert Togut $2,000 - $4,999 Gideon Argov and Alexandra Fuchs • Robert and Elana Baum • Lee and Sydelle Blatt • Beatrice Bloch and Alan Sagner • Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Alan J. and Suzanne W. Dworsky • Alan and Lisa Dynner • Nancy Edman Feldman and Mike Chefetz • Drs. Anne and Michael Gershon • Paul B. Gilbert and Patricia Romeo-Gilbert • Wendy and Peter Gordon • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Susie and Stuart Hirshfield • Humaco Consulting Belgium • Margery and Everett Jassy • Leslie and Stephen Jerome • Martin and Wendy Kaplan • Dr. Samuel Kopel and Sari Scheer • Diane Krane and Myles Slosberg • Lizbeth and George Krupp • Jay and Shirley Marks • Katherine and Frank Martucci • Martin E. Messinger • Jerry Nelson • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • In Memory of Nilda Milligan Prichard • Ronald and Karen Rettner • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Bill and Deb Ryan • Dr. Beth Sackler and Mr. Jeffrey Cohen • Hannah and Walter Shmerler • Scott and Robert Singleton • Margery and Lewis Steinberg • June Wu • Marillyn Zacharis BSO Archives

16 Tanglewood Gala $1,000 - $1,999 Joan and Mark Abramowitz • Mr. and Mrs. Hamish M. Adam • Naomi Alexandroff-Brest and David Kaplan • Dr. Diran and Dr. Seta Apelian • Stephen Barrow and Janis Manley • Edward S. W. Boesel • Carol and Bob Braun • Carole and Dan Burack • Susan and Joel Cartun • Yumin and Amy Choi • Dr. Lawrence H. and Roberta Cohn • James and Tina Collias • C. Jeffrey and Judith Cook • Dr. T. Donald and Janet Eisenstein • Dr. Eric Fossel and Celeste Fossel • Cora and Ted Ginsberg • Marita and David Glodt • Mr. and Mrs. Thomas Graham • Susan and Richard Grausman • Drs. James and Eleanor Herzog • Lucy Holland and Charles Schulze • Larry and Jackie Horn • Joan and Jim Hunter • Iredale Mineral Cosmetics, Ltd. • Robert I. Kleinberg • Sandra G. Krakoff • Thomas and Adrienne Linnell • Vicki and Arthur Loring • Jackie and Malcolm Mazow • Cynthia McCollum and John Spellman • Rabbi Paul and Rita Menitoff • Soo Sung and Robert Merli • Wilma and Norman Michaels • Drs. Eli and Carolyn Newberger • Judith Stern Peck • Wendy Philbrick and Edward Baptiste • Qualprint • Barbara and Michael Rosenbaum • Georgeanne and Jean Rousseau • Malcolm and BJ Salter • Elisabeth Sapery and Rosita Sarnoff • Mrs. Anne Schnesel • Dan Schrager and Ellen Gaies • Carol and Richard Seltzer • Arlene and Donald Shapiro • Mr. and Mrs. Emery Sheer • Gilda Slifka • Carol and Irv Smokler • Lauren Spitz • Lynn and Ken Stark • Ms. Alice Stephens • Norma and Jerry Strassler • Myra and Michael Tweedy • Loet and Edith Velmans • Eric and Sarah Ward • Marian M. Warden • Robert and Roberta Winters • Judy and Richard Wyman • Anonymous $500 - $999 C.C. Cave and Peter Rothstein • Mrs. J. Michael Degener • Ursula Ehret-Dichter • Mrs. Irma Engel • Priscilla Fierman Kauff • Myra Kressner • Diane H. Lupean • Suzanne F. Nash • Mrs. Jose W. Noyes • Stephen and Patricia Peters • Ann Stanton • Susan Tofel • Anonymous

In-Kind Donors Boston Gourmet • High Output • Carol and George Jacobstein • Robin Lehman • W. J. Deutsch & Sons, Ltd. • Winston Flowers

* Designates Benefactor Table Purchaser

List as of July 21, 2015 Walter H. Scott

TANGLEWOODWEEK 6 TANGLEWOODGALA 17

2015 Tanglewood

Saturday, August 8, 8:30pm TMC 75th Anniversary Gala THE LEONARD BERNSTEIN MEMORIAL CONCERT

TANGLEWOOD MUSIC CENTER ORCHESTRA ANDRIS NELSONS conducting

MAHLER Symphony No. 8 Part I: Hymn, “Veni, creator spiritus”

{Intermission}

Part II: Final scene from Goethe’s “Faust”

ERIN WALL, soprano 1/Magna peccatrix CHRISTINE GOERKE, soprano 2/Una poenitentium ERIN MORLEY, soprano 3/Mater gloriosa) LIOBA BRAUN, mezzo-soprano 1/Mulier Samaritana JANE HENSCHEL, mezzo-soprano 2/Maria Aegyptiaca KLAUS FLORIAN VOGT, tenor/Doctor Marianus MATTHIAS GOERNE, baritone/Pater ecstaticus AIN ANGER, bass/Pater profundus TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BOSTON UNIVERSITY TANGLEWOOD INSTITUTE CHORUS, ANN HOWARD JONES, conductor AMERICAN BOYCHOIR, FERNANDO MALVAR-RUIZ, conductor

Please note that text and translation are being distributed separately.

The 2015 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean. The BSO’s webcast of the Tanglewood Music Center 75th Anniversary gala concert performance of Mahler’s Symphony No. 8 is made possible by a generous gift from Lizbeth and George Krupp in honor of Bernice T. Krupp. This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOODWEEK 6 SATURDAYPROGRAM 19 A Message From Andris Nelsons

Very Dear Friends, Music is one of the most important gifts we can give to our young people. Serge Koussevitzky knew this so very well when he founded the Tanglewood Music Center in 1940. Since then, every summer for eight weeks, a select number of extraordinary young musicians join the BSO family as Tanglewood Music Center Fellows. At Tanglewood they are preparing themselves for their professional careers, they perform, create, and are exposed to a wide repertoire— orchestral music, chamber, vocal, operatic, old, new. They also work directly with our beloved BSO musicians, and many of them get to play alongside their BSO mentors in the Shed and Ozawa Hall. This is nourishment that not only provides musical strength but transforms their lives—and, as we watch and listen to them, it impacts ours. For the TMC Fellows, Tanglewood is more than just a place to study: it is a crucial moment in the musical-spiritual journey that transforms them from aspiring young musicians into the professional musicians and teach- ers of tomorrow. In 2012, I was honored to lead the TMC Orchestra for the first time in (photo by Marco Borggreve) that summer’s Gala celebrating the 75th anniversary of the BSO’s Tangle- wood Festival. This year I am privileged to lead the TMCO in the culminating event of this year’s Tanglewood Music Center 75th Anniversary Celebration, tonight’s gala performance of Mahler’s Eighth Symphony, his so-called Symphony of a Thousand. For the performance of this powerful and moving work, our extended musical family includes not only the TMC Fellows but also the Tanglewood Festival Chorus, the Boston University Tanglewood Institute Chorus, the Ameri- can Boychoir, and members of the BSO. As BSO Music Director, it is a profound honor for me to work with the Fellows of the Tanglewood Music Center at this truly special time. It is a joy to have these wonderful young people as part of our BSO family!

Andris Nelsons rehearsing with the Tanglewood Music Center Orchestra in the Koussevitzky Music Shed, July 2012 (Hilary Scott)

20 NOTES ON THE PROGRAM

Gustav Mahler (1860-1911) Symphony No. 8 First performance: September 12, 1910, Munich, Mahler cond. Prior to tonight’s performance by the Tanglewood Music Center Orchestra, all previous Tanglewood performances of Mahler’s Symphony No. 8 were given by the Boston Symphony Orchestra: August 20, 1972, Seiji Ozawa cond.; August 23, 1981, Ozawa cond.; July 8, 2005, James Levine cond. The BSO also played the work in Boston and at Carnegie Hall in October 1980, Ozawa cond., celebrating the BSO’s 100th season; and in Boston and at Carnegie Hall in October 2004, Levine cond., inaugurating his tenure as BSO music director. Mahler sketched the Symphony No. 8 between June 21 and August 18, 1906, completing the score the following summer. He himself conducted the first performance, in Munich on September 12, 1910, with an especially assembled orchestra, the Riedelverein of Leipzig, the Vienna Singverein, the Munich Central School Children’s Chorus, and soloists Gertrud Förstel, Marta Winternitz-Dorda, Irma Koboth, Ottilie Meyzger, Tilly Koenen, Felix Senius, Nicola Geisse-Winkel, and Richard Mayr. The dedication is to “mein- er lieben Frau, Alma Maria.” Joining Goethe’s Faust to Veni, creator spiritus—linking the complexities of Goethe’s humanism to the orthodoxy, the questionless faith of an 8th-century Christian hymn—Mahler sought to create a similarly encompassing work. We have, in the Anglo-American tradition, no cultural totem quite like Faust, no one work so known, so quoted, so lived with and possessed, as Faust was by cultured Germans during the nineteenth century and at least the first third of the twentieth. The King James Version of the Bible is the nearest thing. It is significant that on the title page of his symphony Mahler does not need to say whose Faust he is setting. Faust is a recklessly inclusive masterwork whose action, to quote Goethe himself, “covers a good 3,000 years from the sack of Troy to the destruction of Missolonghi” and whose content is expressed in an astounding variety of styles, verse-forms, textures, quotations, allusions, parodies, and in tones sublime and scurrilous. Mahler, one imagines, must often have looked to it for permission for his own unprecedentedly global symphonies. It was not, however, with Faust that the Eighth Symphony began. The pattern of Mahler’s years is well known. In the fall, winter, and spring he conducted, both to earn a living and because the challenge would not leave him in peace, and in summer he composed, sometimes sketching an entire symphony in a couple of months, perhaps finishing it the following summer as well as finding odd moments during the year when he might work on the score. He had completed his Seventh Symphony during the winter of 1905-06, and in May he had introduced his Sixth, the work of 1903-05, at a festival at Essen. In June 1906, arriving at Maiernigg on Lake Wörth in Southern Austria, where he had previously bought a plot of land, he had not a glim- mer of an idea for a new composition. According to Alma Mahler, he was “haunted by the specter of failing inspiration.” By his own account, on the first day, heading into his studio, a tiny hut separated from the main house by some hundreds of yards, “the Spiritus creator took hold of me and shook me and drove me on for the next eight weeks until the greatest part of my work was done.” Mahler was quick to perceive that Veni, creator spiritus was but a beginning, to see that he dared tackle that Holy of Holies in German literature, the final scene of Faust, and that the bridge between the texts was to be found in the third stanza of the hymn: “Accende lumen sensibus,/ Infunde amorem cordibus!” (“Illuminate our senses,/Pour love into our hearts!”).

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 21 He completed the score with astonishing speed. As usual, however, he was in no hurry about the ﬁrst performance. He had much else on his mind—in the tumul- tuous year of 1907 his resignation as artistic director of the Vienna Court Opera, his decision to go to the Metropolitan Opera in New York, the death from a combined onslaught of diphtheria and scarlet fever of his four-year-old daughter Maria, and unsettling news about his own health; in 1908 a heavy schedule in New York at both ends of the year, the premiere of the Symphony No. 7, and the composition of Das Lied von der Erde (The Song of the Earth); in 1909 the start of a three-year contract with the badly dilapidated New York Philharmonic and work on the Ninth Symphony. The first performance was very much an event to have been at—a glorious and intensely emotional occasion and Mahler’s one experience of being completely accepted as a composer. (The impresario Gutmann coined the name Symphony of a Thousand as part of his marketing pitch, and there was truth in his advertising: the performance involved 858 singers and an orchestra of 171, which, if you add Mahler himself, comes to 1,030 persons.) Tradition ascribes Veni, creator spiritus to Rabanus Maurus, Archbishop of Mainz from 847 until his death in 856, but modern scholarship will not have it so. The hymn, which probably dates from just before Maurus’s time, is part of the liturgy for Pentecost, the festival that commemorates the descent of the Holy Ghost upon the disciples (Acts 2). It is also sung at grand celebrations such as the elevation of a saint or the coronation of a pope. Mahler’s reference to it as “the Spiritus Creator” is characteristic. He could not leave a text alone, and, aside from various omissions, he presents the lines in an incredibly dense growth of repetitions, combinations, inversions, transpositions, and conﬂations. He manhandles Goethe’s text, too, making two substantial cuts, one of thirty-six lines and another of seven, presumably on

22 purpose; other omissions, inversions, and altered word-forms should probably be ascribed to his working from memory. The Faust chapbook of 1587, which is the literary source for the whole legend and which appeared in English in 1592 as The History of the Damnable Life and Deserved Death of Doctor John Faustus, is an entertainment and a cautionary tale. For Goethe, the career of the old humbug was not just a tale to tell; it was a story upon which to hang an entire Weltanschauung. His most radical change in telling the story is that he makes it end not in death and damnation, but in Faust’s salvation. The Faustian quest is not arrogance but aspi- ration. The moment of salvation is the subject of Goethe’s final scene and of the mighty close of Mahler’s symphony. The story of Faust I, of the pact with the Devil and the Gretchen tragedy, does not need to be retold here. Faust II seems at first to be not so much a continuation as a fresh start from another perspective, as Goethe himself said. Faust has been made oblivious of his past. In a series of steps that Goethe wishes us to perceive as successively higher stages of questing, Faust is in service at the Imperial Court, then in love with Helen of Troy and, in that union, the father of a boy called Euphorion. Ultimately, after Helen’s return to the underworld, Faust challenges nature herself as he takes on a gigantic project of land Johann Wolfgang von Goethe reclamation. One hundred years old, he receives (1749-1832) at 77 the visitation of four gray women, Want, Distress, Guilt, and Care. Only Care has the power to enter; as she leaves, she breathes on him and strikes him blind. His pact with Mephistopheles demands that if ever he entreats “the swift moment.../Tarry a while! you are so fair!” his life is over and his soul forfeit. Taking, in his blindness, the sound of his own grave being dug to be the sound of his construction plans going forward, enraptured by the vision of the life to arise on the land newly claimed from the elements, he cries, “I might entreat the fleeting minute:/O tarry yet, thou art so fair!” He dies, and in a scene of superb comedy—angels pelt the devils with rose petals, which sting and burn them murder- ously, and Mephistopheles’ own attention is fatally distracted by the bare bottoms of the little boy angels—heavenly hosts wrest Faust’s immortal essence from the forces of hell. And with that, Goethe’s—and Mahler’s—finale can begin. To say that Goethe composed this finale as though writing a libretto for an opera or oratorio is not simply a matter of justifying Mahler. The musical libretto is one among many poetic styles touched in Faust. Besides, we know that Goethe always hoped that at least parts of the tragedy would be set to music. The ideal composer, he said, would have been Mozart working “in the manner of Don Giovanni.” The scene is set in mountain gorges inhabited by hermits who are named, in ascend- ing order of divine knowledge, Pater Ecstaticus, Pater Profundus, Pater Seraphicus, and Doctor Marianus. Moving among these anchorites is a group of children who died immediately after birth. Angels come bearing Faust’s immortal essence, and we learn from younger angels that the roses which had played so critical a part in the capture of that essence were the gifts of penitent women. Hailed by Doctor Marianus, the Virgin appears in glory. The penitent donors of the roses—the sinner who bathed Christ’s feet at the house of Simon the Pharisee; the Samaritan woman who gave

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 23 Christ water at Jacob’s well and to whom he first revealed that he was the Messiah; and Mary of Egypt, who repented a life of sin after an invisible hand had kept her from entering the temple and who, at her death after forty years in the desert, wrote a message in the sand asking to be buried there—intercede with the Virgin on behalf of Gretchen. One more penitent woman, “once called Gretchen,” speaks thanks to the Mater Gloriosa for having heeded her prayers on behalf of “my love of old.” With Gretchen’s reappearance, the immense circle of the poem is closed. The Mater Gloriosa grants to Gretchen that she may lead Faust “to higher spheres.” In eight of the most celebrated and the most densely beautiful lines of the world’s poetry, a mystic chorus speaks of heaven as the place where parable becomes reality, where earthly imperfection is made perfect, where the indescribable is achieved. Mahler discussed this close in a letter he wrote to his wife in June 1909: “It is all an allegory to convey something that, no matter what form it is given, can never be ade- quately expressed. Only the transitory can be described; but what we feel and sur- mise but will never attain (or experience as an actual event), in other words, the intransitory that lies behind all experience, that is indescribable. That which draws us by its mystic force, that which every created thing... feels with absolute certainty at the very center of its being, that which Goethe here—again using an image—calls the Eternal Feminine—that is to say, the resting-place, the goal, as opposed to striv- ing and struggling toward the goal (the eternal masculine)—that is the force of love, and you are right to call it by that name.” In April 1926, Anton Webern conducted what must by all accounts have been two overwhelming performances of Mahler’s Eighth Symphony. Describing them to Schoenberg, he wrote: “In [the first part] I set a real Allegro impetuoso; in no time the movement was over, like a gigantic prelude to the second.” This “impetuous” allegro is precisely what Mahler specifies as he hurls the first words of the Veni, creator spiritus at us. Not only is the tempo itself quick, but the musical events create a sense of utmost urgency. Moreover, as soon as the chorus resumes, the violins, imitated by all the high woodwinds, add a new melody of sweeping physical energy. Mahler’s treatment of what he regarded as “the cardinal point of the text” and the bridge to Faust, the “Accende lumen sensibus,” tells us something important about his verbal inversions. His first introduction of that line by the soloists is quiet. But the word order is reversed—“Lumen accende sensibus”—and the great outburst with all William Mercer

24 voices in unison, including those of the children, coincides with the first presenta- tion of the line in its proper order. The change there of texture, tempo, and harmony makes this the most dramatic stroke in the symphony, and the effect is height- ened by the breath-stopping comma that breaks the word “accende” in two. Reflecting the difference between Goethe’s discursive and theatrical rhapsodies and the concentrated plainness of the medieval hymn, Part II of Mahler’s symphony is as expansive as Part I was ferociously com- pressed. He begins with a miraculous piece of landscape painting, a broadly drawn prelude, hushed and slow, whose elements are recapitulated and expanded in the first utterances of the anchorites and angels. Goethe’s spiritual-operatic spectacle draws lively musical response from Mahler. In some ways this movement is like a song cycle, as Pater Ecstaticus, Pater Profundus, the angel choirs, Doctor Marianus, and the three penitent women bring us their reflections and prayers, each articulated with marvelous individuality. At the same time, and again parallel to this part of Goethe’s composition, much of Mahler’s music is recapitulation, even hearkening back to parts of The piano score of Mahler’s Eighth Symphony the first movement. This symphony, like Faust itself, is something to be lived with for a long time so that the richly intricate network of references and allusions might take on clarity. The final summons of Doctor Marianus to look up to the Virgin’s redeeming vis- age—“Blicket auf!”—rises to a rapt climax. This is the beginning of the finale within the finale. Then, after long moments of suspense, the Chorus mysticus intones the poet’s reflections on now and later, here and beyond, image and reality. But, as he does in his Resurrection Symphony, Mahler gives over the power to music without words. Brass instruments, organ, drums, plucked strings, bells, all invoke the symphony’s opening phrase—“Veni, creator spiritus”—but now its dissonances, the tense upward leap of a seventh, stretched now in a still greater leap of a ninth, are dis- solved in concord, in the roar of the final, long chord of E-flat major. We are home. Prayer has become affirmation. “We have arrived—we are at rest—we possess what we could only strive and struggle for on earth.”

From notes by 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.

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 25 Guest Artists Erin Wall Soprano Erin Wall is acclaimed for her musicality and versatility, with an extensive opera and concert repertoire that spans three centuries from Mozart and Beethoven to Britten and Strauss. She has sung leading roles in the world’s great opera houses, including the Metropolitan Opera, La Scala, the Vienna Staatsoper, Opéra National de Paris, and Lyric Opera of Chicago, and appears in concert with leading symphony orchestras and conductors worldwide. Recent career highlights include the title role in Strauss’s Arabella and Helena in Britten’s A Midsummer Night’s Dream with the Metro- politan Opera; a highly acclaimed debut as Clémence in L’Amour de loin with the Canadian Opera Company in 2012; the title role in Thaïs at the Edinburgh Festival; and the 50th-anniversary performance of Britten’s War Requiem with the City of Birmingham Symphony Orchestra led by Andris Nelsons at Coventry Cathedral. Ms. Wall has recently sung Beethoven’s Ninth Symphony with the Boston Symphony under Bernard Haitink and with the Vienna Philharmonic under Christian Thielemann, as well as Strauss’s Four Last Songs with the City of Birmingham Symphony Orchestra and Andris Nelsons. She has sung Mahler’s Eighth Symphony with the Hessischer Rundfunk under Paavo Järvi, the Houston Symphony under Christoph Eschenbach, the NHK Philharmonic under Charles Dutoit, the Royal Scottish National Orchestra under Peter Oundjian, the Cincinnati May Festival under James Conlon, and the Tokyo Symphony Orchestra under Jonathan Nott. Ms. Wall’s most recent commercial release is Strauss’s Four Last Songs with the Melbourne Symphony conducted by Sir Andrew Davis.

Christine Goerke Soprano Christine Goerke has appeared in the world’s major opera houses. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and more recently moving into the dramatic Strauss and Wagner roles, also garnering acclaim for her portrayals of the title roles in Elektra (which she will sing in concert with the Boston Symphony Orchestra this coming October), Ariadne auf Naxos, Norma, and Iphigénie en Tauride; Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlo, the Dyer’s Wife in Die Frau ohne Schatten, Rosalinde in Die Fledermaus, Ellen Orford in Peter Grimes, the Female Chorus in The Rape of Lucretia, Alice Ford in Falstaff, and Mother Marie in Dialogues des Carmélites. On the concert plat- form, Ms. Goerke has appeared with leading international orchestras, working with some of the world’s foremost conductors, among them James Conlon, Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Seiji Ozawa, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Leonard Slatkin, Patrick Summers, Jeffrey Tate, Michael Tilson Thomas, and Edo de Waart. Her recording of Vaughan Williams’s A Sea Symphony with Robert Spano and the Atlanta Symphony won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Other recordings include the title role in Iphigénie en Tauride for Telarc and Britten’s War Requiem, the 1999 Grammy Award-winner for Best Choral Performance. Highlights of recent seasons include her first fully staged performances as Brünnhilde in Die Walküre at both the Canadian Opera Company and Houston Grand Opera, the title role in Florencia en el Amazonas at Washington National Opera, and Elektra at Michigan Opera Theatre. Future plans include Wagner’s Ring cycle at Lyric Opera of Chicago, Houston Grand Opera, and the Metropolitan Opera, where in the 2015-16 season she sings the title role of Turandot. Christine Goerke was the recipient of the 2001 Richard Tucker Award.

26 Erin Morley Erin Morley is one of today’s most promising coloratura sopranos. It was her break- through performance as Marguerite de Valois in Les Huguenots at Bard SummerScape that won her wide press and public acclaim. The 2014-15 season included company debuts for Ms. Morley at Opéra National de Paris as Konstanze in Die Entführung aus dem Serail; at Vienna State Opera as Gilda in Rigoletto and Sophie in Der Rosenkavalier; and a return to the Metropolitan Opera for Olympia in Les Contes d’Hoffmann. Earlier this summer she recorded the role of Sylvie in Gounod’s La Colombe with Mark Elder for Opera Rara; performed the Virgin in Honegger’s Joan of Arc at the Stake with the New York Philharmonic under Alan Gilbert, which featured Marion Cotillard as Joan; and opened the Mostly Mozart Festival singing Mozart concert arias under the direction of Louis Langrée. Future projects include Zerbinetta in Ariadne auf Naxos at the Minnesota Opera, the Fiakermilli in Arabella at the Bavarian State Opera, and Sophie in Der Rosenkavalier at Opéra National de Paris, as well as a European and American tour singing Angelica in Handel’s Orlando with The English Concert and Harry Bicket. Other future engagements include debuts at Glyndebourne and Houston Grand Opera and returns to the Metropolitan Opera, Vienna State Opera, and Bavarian State Opera. Ms. Morley enjoyed a significant personal success as Sophie in Der Rosenkavalier at the Metropolitan Opera in the 2013-14 season; she later made company debuts at both Opéra de Lille and Opéra de Dijon as Sandrina in La finta giardiniera, and at the Bavarian State Opera as Gilda in Rigoletto. Ms. Morley returned to Santa Fe Opera in the summer of 2014 for a double bill of Mozart and Stravinsky, singing the role of Madame Silberklang in Mozart’s The Impresario and the title role in Stravinsky’s Le Rossignol.

Lioba Braun Lioba Braun earned acclaim for her performance as Isolde in a new production of Tristan und Isolde at Teatro Comunale in Florence conducted by Zubin Mehta in April and May 2014. In 2012, following her triumph in the role in concert performances of the opera under Andris Nelsons in Birmingham and Paris, she made her highly acclaimed debut in a fully staged production in Nuremberg, later reprising the role in Antwerp in a fully staged production under Dmitri Jurowski. In fall 2011 she added to her repertoire the role of the Marschallin in Der Rosenkavalier, singing it in Leipzig under Ulf Schirmer, and taking over on short notice the same role at Deutsche Oper Berlin under Donald Runnicles. Recent and upcoming engagements include Brangäne in Tristan und Isolde and Mahler’s Second Symphony under Zubin Mehta in Naples; Isolde at the Wagner Festival in Wels; Penderecki’s Eighth Symphony in Zurich conducted by the composer; Mendelssohn’s Elijah in Berlin and at the Rheingau Musik Festival; Beethoven’s Missa Solemnis in Basel and Stuttgart; Wagner’s Wesendonck Lieder conducted by Markus Poschner in Bremen, and Mahler’s Third Symphony, also under Poschner, in Dresden. Ms. Braun’s international career was initiated in spectacular fashion when she took over as Brangäne on short notice in a 1994 Bayreuth Festival production of Tristan und Isolde under Daniel Barenboim. During the past few seasons she has been heard as Kundry in Parsifal, as Brangäne, Fricka, and Waltraute in Wagner’s Ring cycle, as Ortrud in Lohengrin, as the Nurse in Die Frau ohne Schatten, and as Venus in Tannhäuser, appearing in Berlin, Dresden, Leipzig, Düsseldorf, Munich, Stuttgart, at the Bayreuth Festival, in Vienna, Milan, Naples, Rome, Geneva, Barcelona, Madrid, and Los Angeles. Her recordings include “Lioba Braun Sings Wagner” conducted by Peter Schneider, Mozart’s Requiem under Christian Thielemann, Mahler’s Second and Eighth symphonies under Jonathan Nott, Mahler’s Eighth Symphony under Riccardo Chailly, and the Principessa in Puccini’s Suor Angelica under Nelsons. Ms. Braun studied with Charlotte Lehmann and now teaches at Cologne’s Hochschule für Musik und Tanz.

TANGLEWOODWEEK 6 GUESTARTISTS 27 Jane Henschel Jane Henschel was born in Wisconsin, studied at the University of Southern California, and subsequently moved to Germany. In concert she has appeared with the Boston Symphony (to which she returns as Klytämnestra in concert performances of Elektra this coming October), Berlin Philharmonic, New York Philharmonic, London Sym- phony, BBC Symphony, and Philadelphia Orchestra, the Orchestre de la Suisse Romande, and Orchestre de Radio France. Recordings include The Rake’s Progress under Ozawa, Albéniz’s Merlin with Domingo, Britten’s The Turn of the Screw with Daniel Harding, and Mahler’s Eighth Symphony with Simon Rattle and the City of Birmingham Symphony Orchestra. On the opera stage, she has sung Baba the Turk in The Rake’s Progress at the Glyndebourne, Saito Kinen, and Salzburg festivals; Brangäne in Tristan und Isolde for Los Angeles Opera and Paris Opera; Klytämnestra in Elektra for San Francisco Opera, the Principessa in Suor Angelica with the Royal Concertgebouw and Chailly, the Kostelniˇcka in Jen˚ufa under Ozawa in Japan, Auntie in Peter Grimes under Rattle, and the Kabanicha in Katya Kabanová at the Salzburg Festival. For the Royal Opera, Covent Garden, she has sung Fricka and Waltraute under Haitink, Ulrica in Un ballo in maschera under Gatti, Klytämnestra under Thielemann and Mark Elder, Mrs. Grose

28 in The Turn of the Screw under Colin Davis and Daniel Harding, and Erda in the new Ring cycle under Pappano; at La Scala, Milan, she has sung Herodias in Salome under Chung, Cassandre in Les Troyens under Colin Davis, and Waltraute under Muti. It is the Nurse in Die Frau ohne Schatten that has become her signature role, one which she has sung in Amsterdam, London, Los Angeles, Munich, Paris, Vienna, Berlin, and at the Metropolitan Opera. Recent and upcoming engagements include her return to the opera houses of London, Paris, Munich, Berlin, Madrid, Barcelona, and New York, as well as concerts with the Dresden Staatskapelle, Berlin Philharmonic, and Vienna Philharmonic, appearances at the Salzburg Easter Festival, the Festspielhaus Baden- Baden, and the Saito Kinen Festival Matsumoto, and return engagements with Vienna State Opera and Dresden Semperoper.

Klaus Florian Vogt Born in Heide (Bundesland, Schleswig-Holstein, Germany), Klaus Florian Vogt was first horn player in the Hamburg Philharmonic Orchestra until 1997. Concurrently with his orchestra position he studied voice at the Lübeck Music Conservatory. Beginning with the 1997-98 season he was engaged at the Regional Theater in Flensburg, and from 1998 until 2003 he was a member of the Dresden State Opera ensemble. Today his repertoire embraces primarily such dramatic tenor roles as Lohengrin, Parsifal, Stolzing, Florestan, Paul in Die tote Stadt, and Hoffmann in Les Contes d’Hoffmann. Since 2003 he has been working as a freelance singer, making guest appearances in Madrid, Paris, Barcelona, Munich, Milan, Vienna, New York, London, Hamburg, and Tokyo, at the Bayreuth Festival, and in numerous opera houses. Equally successful on the concert stage, he has appeared multiple times in Vienna, at the Musikvereinssaal with Mariss Janssons and Daniel Barenboim; in Athens, singing Beethoven’s Missa Solemnis under Helmuth Rilling, which he has also sung at the Philharmonie Berlin; and in Leipzig performing Beethoven’s Ninth Symphony with the Gewandhaus Orchestra. He has sung at the 2010 Salzburg Festival under Daniel Barenboim, Das Lied von der Erde at Covent Garden under Antonio Pappano, and in numerous other concerts. Klaus Florian Vogt is an exclusive Sony Music artist; his first solo album, entitled “Helden,” was released in January 2012; his second, “Wagner,” in January 2013, and his third and most recent, “Favorites,” in March 2014, all on Sony Classical. In 2012 he was awarded the Echo-Klassik as best singer of the year.

Matthias Goerne Matthias Goerne is one of the world’s most sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world; conductors of the first rank, as well as eminent pianists, are among his musical partners. Mr. Goerne has appeared on the world’s principal opera stages, among them the Royal Opera House–Covent Garden, Madrid’s Teatro Real, Paris National Opera, Vienna State Opera, and the Metropolitan Opera. His carefully chosen roles range from Wolfram, Amfortas, Kurwenal, Wotan, and Orest to the title roles in Berg’s Wozzeck, Bartók’s Duke Bluebeard’s Castle, and Hindemith’s Mathis der Maler. Mr. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA award, and, most recently, the Diapason d’or arte. For Harmonia Mundi, he has recorded a series of selected Schubert songs on eleven CDs (“The Goerne/Schubert Edition”). From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Dusseldorf. In 2001 he was appointed an Honorary Member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later

TANGLEWOODWEEK 6 GUESTARTISTS 29 with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Highlights of his 2014-15 season include a tour with the Vienna Philharmonic and concerts with the Chicago Symphony, Dallas Symphony, Czech Philharmonic, Orchestre de Paris, London Symphony, and the Accademia di Santa Cecilia, as well as song recitals with Piotr Anderszewski, Leif Ove Andsnes, and Christoph Eschenbach in London, Vienna, Berlin, and at La Scala in Milan. In January 2015 Matthias Goerne made his debut as Wotan in a concert version of Wagner’s Das Rheingold with the Hong Kong Philhar- monic. His August 2015 engagements also include performances at the summer festivals in Lucerne, Salzburg, Verbier, and Edinburgh, as well as Mostly Mozart in New York and the Saito Kinen Festival in Japan. Visit www.matthiasgoerne.com for further information.

Ain Anger Bass Ain Anger made his Bayreuth Festival debut in 2009 under Christian Thielemann as Fafner in Das Rheingold and Siegfried before singing Hunding in new Ring cycles at the Bavarian State Opera under Kent Nagano, Vienna State Opera under Franz Welser- Möst, and Oper Frankfurt under Sebastian Weigle. He made an acclaimed debut at Teatro alla Scala as Daland in Der fliegende Holländer under Hartmut Haenchen and appeared at the BBC Proms with Deutsche Oper Berlin in Tannhäuser under Donald Runnicles. A mainstay of the Vienna State Opera stage since his 2004 house debut as Monterone in Rigoletto, he has now sung more than forty roles there, ranging from Sarastro in Die Zauberflöte, Heinrich in Lohengrin, and Philippe II in Don Carlos to Pogner in Die Meistersinger von Nürnberg, Zaccaria in Nabucco, and Fiesco in Simon Boccanegra. Opera highlights in the current season include company debuts at the Royal Opera House as Pimen in Richard Jones’s new production of Boris Godunov and at San Francisco Opera as Pogner under Mark Elder, as well as a role debut as Cardinal Brogni in Calixto Bieito’s new production of La Juive under Bertrand de Billy for Bavarian State Opera. Roles in Vienna include Dossifei in Khovanshchina, Hunding in Die Walküre, and Sparafucile in Rigoletto; he returns to Munich as Pimen in Boris Godunov and the Commendatore in Don Giovanni. Concert appearances include Mahler’s Eighth Symphony with the Symphonieorchester des Bayerischen Rundfunks under Mariss Jansons and the hr-Sinfonieorchester under Paavo Järvi, Verdi’s Requiem and concert performances of Der fliegende Holländer with the Sydney Symphony under David Robert- son, and Beethoven’s Ninth Symphony with the Gewandhausorchester Leipzig under Riccardo Chailly. Since his 2002 United States debut in Shchedrin’s The Enchanted Wanderer with the New York Philharmonic under the late Lorin Maazel, Ain Anger’s North American profile has grown to include such recent engagements as Beethoven’s Missa Solemnis and Verdi’s Requiem with the San Francisco Symphony and Dallas Symphony, Orest in Strauss’s Elektra with the Philadelphia Orchestra, and Ramfis in Aida with Houston Grand Opera. Trained at Tallin’s Academy of Music, Ain Anger began his career in his native Estonia before becoming a member of the ensembles of Oper Leipzig and Staatsoper Hamburg. Stu Rosner

30 Tanglewood Festival Chorus John Oliver, Conductor This summer, the Tanglewood Festival Chorus performs music of Verdi and Puccini with the Boston Symphony Orchestra conducted by Bramwell Tovey (July 11); Mahler’s Symphony No. 8 with the Tanglewood Music Center Orchestra led by BSO Music Director Andris Nelsons (the TMC 75th Anniversary Gala on August 8), and the BSO’s traditional season-ending Tanglewood performance of Beethoven’s Ninth Symphony, to be led by Asher Fisch (August 16), as well as its annual Friday Prelude concert under John Oliver’s direction in Ozawa Hall, a program this year of music by Bach, Barber, Brahms, and Copland (August 14). Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festi- val Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the

TANGLEWOODWEEK 6 GUESTARTISTS 31 Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on ﬁve continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conser- vatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty- four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the

choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. At the end of the 2015 Tanglewood season, Mr. Oliver will step down from his leadership position with the Tanglewood Festival Chorus. To honor his forty-five years of service to the ensemble, the Boston Symphony Orchestra will award Mr. Oliver the Tanglewood Medal at a ceremony to take place this summer. In addition to taking on the newly created lifetime title of Founder and Conductor Laureate of the TFC, he will also occupy a Master Teacher Chair at the Tanglewood Music Center beginning next summer.

TANGLEWOODWEEK 6 GUESTARTISTS 33 Tanglewood Festival Chorus John Oliver, Conductor (Mahler Symphony No. 8, August 8, 2015)

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

Deborah C. Barry • Michele Bergonzi # • Joy Emerson Brewer • Norma Caiazza • Valeska Cambron • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Anna S. Choi • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette * • Ann M. Dwelley • Kaila J. Frymire • Diana Gamet • Bonnie Gleason • Ashley Gryta • Beth Grzegorzewski • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Donna Kim • Barbara Abramoff Levy § • Farah Darliette Lewis • Sarah Mayo • Deirdre Michael • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Avery Peterman • Laura Stanfield Prichard • Livia M. Racz • Emily Rosenberg • Jessica Rucinski • Adi Rule • Melanie Salisbury # • Johanna Schlegel • Joan P. Sherman § • Judy Stafford • Dana R. Sullivan • Sarah Telford # • Nora Anne Watson • Lauren Woo • Wanzhe Zhang Mezzo-Sopranos

Anete Adams • Virginia Bailey • Martha A. R. Bewick • Betty Blanchard Blume # • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet L. Buecker • Cypriana Slosky Coelho • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste # • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman * • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride * • Denise Glennon • Rachel K. Hallenbeck # • Irina Kareva • Yoo-Kyung Kim • Nora Kory • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Kendra Nutting • Fumiko Ohara # • Andrea Okerholm Huttlin • Maya Pardo • Daniel Roihl • Anne K. Smith • Ada Park Snider * • Amy Spound • Julie Steinhilber # • Celia Tafuri • Lelia Tenreyro-Viana • Martha F. Vedrine • Cindy M. Vredeveld • Christina Wallace Cooper # • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox

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

Eric Lange |Lange Media Sales |781-642-0400 |[email protected]

34 Tenors

Brad W. Amidon # • Armen Babikyan • John C. Barr # • Ryan Casperson • Jiahao Chen • Stephen Chrzan • Andrew Crain # • John Cunningham • Sean Dillon • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • James E. Gleason • Leon Grande • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Pui Chuen Hui • Timothy O. Jarrett • James R. Kauffman # • Elijah Langille • Lance Levine • Henry Lussier § • Mark Mulligan • David Norris * • Jonathan Oakes • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Nate Ramsayer • Lee Ransom • Tom Regan • Brian R. Robinson • Joshuah Rotz • Blake Siskavich • Arend Sluis • Stephen E. Smith • Don P. Sturdy # • Martin S. Thomson • Stephen J. Twiraga • Stratton Vitikos • Hyun Yong Woo Basses

Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks # • Nicholas A. Brown • Stephen J. Buck • Christopher Davey • Alexander Goldberg • Jim Gordon • Jay S. Gregory # • Andrew Gribbin • Mark L. Haberman # • Jeramie D. Hammond • Michael Jo • Marc J. Kaufman • Nathan Kessel • David M. Kilroy • G.P. Paul Kowal # • Bruce Kozuma # • Timothy Lanagan # • Maxwell Levy • David K. Lones # • Greg Mancusi-Ungaro • Lynd Matt • Devon Morin • Eryk P. Nielsen • Stephen H. Owades § • Donald R. Peck # • Michael Prichard # • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf # • Andrew Scoglio • Scott Street • Charles Sullivan • Craig A. Tata • Samuel Truesdell • Bradley Turner # • Terry Ward # • Matt Weaver • Peter J. Wender § • Lawson L.S. Wong • Channing Yu

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Livia M. Racz, German Diction Coach Erik Johnson, Chorus Manager Emily W. Siders, Assistant Chorus Manager

Boston University Tanglewood Institute Young Artists Vocal Program Chorus, Ann Howard Jones, Conductor

Syona Ayyankeril • Natalie Barnaby • Anna Katherine Bozard • Brittany Brewer • Kate Broderick • McKinny Danger-James • Allison Farrall • Breanna Flores • Maryann Hayden • Luisa Hidalgo • Marley Jacobson • Evangelia Leontis • Francesca Lionetta • Diamond Lonon • Alexandra Purdy • Lindsey Reynolds • Stephanie Scarcella • Madeleine Snow • Katherine Steele • Ashlyn Taylor • Caitlyn Tyler • Dana Varga • Caroline Wolfe

Steven Seigart, Assistant Chorus Conductor/Choral Pianist

The Boston University Tanglewood Institute, established in 1965, provides aspiring young high-school age musicians a unique educational opportunity offered at Tangle- wood by Boston University’s College of Fine Arts. For more information, please call (413) 637-1430 or (617) 353-3386, or visit bu.edu/tanglewood.

TANGLEWOODWEEK 6 GUESTARTISTS 35 American Boychoir Fernando Malvar-Ruiz, Conductor The American Boychoir has long been recognized as one of the finest musical ensembles in the country. Under the leadership of Fernando Malvar-Ruiz, Litton-Lodal Music Director, the American Boychoir performs regularly with world-class orchestras, including the Boston Symphony Orchestra, New York Philharmonic, and Philadelphia Orchestra, being featured with such illustrious conductors as Andris Nelsons, James Levine, Charles Dutoit, and Alan Gilbert. The ensemble is frequently invited to join internationally-renowned artists on stage; its list of collaborators ranges from great classical artists such as Jessye Norman and Frederica von Stade to jazz legend Wynton Marsalis and pop icons Beyoncé and Sir Paul McCartney. The American Boychoir has been invited to sing for every sitting U.S. President since John F. Kennedy. Reflecting the ethnic, religious, and cultural diversity of the United States, boys in fourth through eighth grades come from across the country and around the world to pursue a rigorous musical and academic curriculum at the American Boychoir School

36 in Princeton, New Jersey. While keeping up with their academic demands, the boys balance schoolwork with an intense national and international touring schedule. Besides the ensemble’s almost 100 solo concerts, their 2015-16 season will include four national tours; continued international releases of the movie Boychoir with Dustin Hoffman, Kathy Bates, and members of the American Boychoir; performances of Mahler’s Symphony No. 8 with the Philadelphia Orchestra; and engagements at the Metropolitan Museum of Art and Carnegie Hall in New York. The legacy of the Ameri- can Boychoir is preserved through an extensive recording catalogue, which boasts over forty-five commercial recordings and the launch of its own label, Albemarle Records.

Fernando Malvar-Ruiz has had a lifelong passion for music, having begun his musical studies at the age of ten in his native Spain. Widely sought after internationally as a guest conductor, lecturer, and clinician, he is recognized as an expert in the adoles- cent male evolving voice. Mr. Malvar-Ruiz joined the American Boychoir School as assistant music director in 2000 and was appointed to the position of Litton-Lodal Music Director in 2004. Each year, he leads the ensemble in over one hundred performances, and on tour throughout the United States and internationally. During his tenure, the American Boychoir has performed for such major national and international events as the 9/11 Memorial Service (broadcast worldwide live on CNN), the Academy Awards, the Youth AIDS Benefit Gala, and the U.S. Open Tennis Tournament. In 2014 the ensemble made its feature film debut in Boychoir starring Dustin Hoffman and Kathy Bates; members of the American Boychoir are prominently featured, and Mr. Malvar-Ruiz appears as Maestro Molina, in addition to his roles as music director, choirmaster, and arranger. Fernando Malvar-Ruiz served as artistic director and guest conductor for the 2005 World Children’s Choir Festival in Hong Kong. He has conducted honor choirs at national and regional conventions of the American Choral Directors Association, and at national conventions of the Organization of American Kodály Educators. For eleven summers, he instructed the summer master’s program in Kodály at Capital University. From 2007 to 2012 he served on the faculty at the Academia Internacional de Verano de Dirección Coral y Pedagogía Musical in Las Palmas, Spain.

American Boychoir Fernando Malvar-Ruiz, Conductor

Ugo Abili • Orion Bloomfield • Douglas Butler • Kevin Byrne • Harry Carter • Evan Corn • Malachi Fox • David Gottschall • Nick Greenwood • Simon Gutierrez • Jeremy Hardjono • Henry Hsaio • Damian Juth • Charlie Love • Denaly Min • Makinrola Orafidiya • Ryan Percarpio • Jonathan Pollison • Sam Robinson • Dante Soriano • Max Stein • John Teti • Daniel Voigt • Rhys Williams Stu Rosner

TANGLEWOODWEEK 6 GUESTARTISTS 37 Tanglewood Music Center Orchestra (Mahler Symphony No. 8, August 8, 2015) Kevin Haseltine # Violin I Ariana Nelson Michael Winter ◊ ˚ Hen-Shuo Steven Chang Ethan Young Trumpet Tara Mueller Meredith Bates Ansel Norris Petros Karapetyan Lucas Button Rebecca Oliverio Catherine French ◊ Benjamin Stoehr Austin Williams Amos C. Fayette Double Bass Dan Henderson Inga Liu Nina DeCesare Tristan Clarke ^ Hyewon Kim Nash Tomey Stuart Stephenson # ^ Paul Kim Caleb Quillen Katie Driscoll # ^ ˚ Nivedita Sarnath Edwin Barker ◊ Eli Maurer # ^ ˚ Kuan-Yu Annie Chen Evan Hulbert ˚ Samuel Weiser Trombone Alanna Jones Harry Chang August Ramos James Tobias Ivana Jasova Dan DeVere Christian Gray # Jeongmin Lee Kevin Gobetz Derek Hawkes Lauren Densinger # John Stovall ◊ Brian Santero ^ Ruda Lee Mary Tyler # ^ ˚ Micah Brightwell # ˚ Flute Taylor Blanton # ^ Violin II Kelly Zimba Bass Trombone Blair Francis Chi Li Adam Rainey # Alexandra Conway # James McFadden-Talbot ˚ Jilene VanOpdorp # Tammy Wang Tuba Johanna Gruskin Sheila Fiekowsky ◊ Colby Parker Benjamin Carson Piccolo Timpani Natsuki Kumagai Johanna Gruskin Ethan Ahmad Erica Hudson Catherine Baker Heather Thomas Percussion Xiaofan Liu Oboe Robert O’Brien Pyung-Kang Sharon Oh Alex Kinmonth Michael Jarrett Maya Cohon Nicholas Tisherman Jiye Oh William Welter II Robin Quinnett Harp Peiming Lin Martha Kleiner # ˚ Emily Levin Brendon Elliott English Horn Tess Varley # Caroline Bembia ˚ Mary Kausek Annabelle Taubl # Viola Clarinet Gréta Ásgeirsson #˚ Kurt Tseng Daniel Parrette Piano Bryan Lew Andrew Sandwick Elisa D’Auria Mengwen Zhao Sean Krissman Edward Gazouleas ‡ Celesta Evan Perry E-ﬂat Clarinet Bob Logan Michael Lloyd Jones Somin Lee Celia Hatton John Diodati # Harmonium Jack Mobley ˚ David McEvoy Bass Clarinet Charlotte Malin Organ Meredith Treaster Patrick Graham Jonathan Moyer # Chensi Tang Bassoon Aekyung Kim Toby Chan Mandolin Yvonne Smith J. Pearson Altizer Jesse Jones # Erica Schwartz ˚ Catherine Chen Personnel Manager Mary Ferrillo # # ˚ Michelle Keem Ryland Bennett Cello Contrabassoon Librarians Aaron Ludwig Ben Roidl-Ward Sonia Mantell John Perkel Francesca McNeeley Horn Nadia Myers (TMC Fellow) Owen Young ◊ Sarah Sutherland Rachel Vann (TMC Fellow) Nathan Watts John Turman Bing Wei Eileen Coyne ^ Offstage banda Ryan Little # Guest musician Andrew Laven ◊ David Olson Jesse Clevenger BSO member Jakob Alfred Paul Nierenz Chris Jackson ‡ TMC faculty Justine Vervelle Jaclyn Rainey # ˚ ˚ TMC alumna/alumnus 38 FELLOWS OF THE 2015 TANGLEWOOD MUSIC CENTER

Violin James McFadden-Talbot, Los Angeles, CA Benjamin Carson, Holliston, MA Steve and Nan Kay Fellowship Lost & Foundation Fellowship Tara Mueller, Fayetteville, AR Harry Chang, Taiwan Robert Baum and Elana Carroll Fellowship/ Daniel and Shirlee Cohen Freed Fellowship/ Dorothy and Montgomery Crane Scholarship Gerald Gelbloom Memorial Fellowship Pyung-Kang Sharon Oh, Changwon, South Hen-Shuo Steven Chang, Taitung City, Korea Taiwan Caroline Grosvenor Congdon Memorial Fitzpatrick Family Fellowship Fellowship Annie Kuan-Yu Chen, Kaohsiung, Taiwan Robyn Quinnett, Montserrat, British West Jerome Zipkin Fellowship Indies Maya Cohon, Seattle, WA Philip and Bernice Krupp Fellowship/ Dr. Stuart H. Brager Memorial Fellowship/ Dr. Lewis R. and Florence W. Lawrence Raymond Friedman Memorial Fellowship Tanglewood Fellowship Lauren Densinger, Edina, MN Nivedita Sarnath, Boston, MA Casty Family Fellowship/ Penny and Claudio Pincus Fellowship KMD Foundation Fellowship Heather Thomas, Northeast Harbor, ME Brendon Elliott, Newport News, VA Frederic and Juliette Brandi Fellowship Frelinghuysen Foundation Fellowship Tammy Wang, Monterey Park, CA Amos C. Fayette, Wading River, NY Darling Family Fellowship Carol and George Jacobstein Fellowship/ Samuel Weiser, Westport, CT Lucy Lowell Fellowship Lola and Edwin Jaffe Fellowship Erica Hudson, Glenview, IL John F. Cogan, Jr. and Mary L. Cornille Viola Fellowship Celia Hatton, Springﬁeld, VA Ivana Jasova, Backi Petrovac, Serbia George and Roberta Berry Fellowship Leslie and Stephen Jerome Fellowship Michael Lloyd Jones, Oklahoma City, OK Petros Karapetyan, Yerevan, Armenia Arlene and Donald Shapiro Fellowship Omar Del Carlo Fellowship Aekyung Kim, Hicksville, NY Hyewon Kim, Seoul, South Korea Morningstar Family Fellowship/ Anna Sternberg and Clara J. Marum Fellowship TMC Fellowship Paul Kim, Bellevue, WA Bryan Lew, Lehi, UT Haskell and Ina Gordon Fellowship Dr. John Knowles Fellowship Natsuki Kumagai, Chicago, IL Charlotte Malin, Westwood, MA Akiko Shiraki Dynner Memorial Fellowship Samuel Rapaporte, Jr. Family Foundation Jeongmin Lee, Seoul, South Korea Fellowship Max Winder Memorial Fellowship Jack Mobley, Grosse Ile, MI Ruda Lee, Seoul, South Korea Jane W. Bancroft Fellowship Ann and Gordon Getty Foundation Fellowship Evan Perry, Somerset, MA Chi Li, Taiwan Bill and Barbara Leith Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Erica Schwartz, Albany, NY Peiming Lin, Troy, MI Linda J.L. Becker Fellowship Carolyn and George R. Rowland Fellowship Yvonne Smith, Ames, IA in honor of Reverend Eleanor J. Panasevich Kingsbury Road Charitable Foundation Inga Liu, San Jose, CA Fellowship Northern California Fellowship Chensi Tang, Xuzhou City Jiangsu Xiaofan Liu, Xi’an Shaanxi Province, Province, China China Leo L. Beranek Fellowship/ The Edward Handelman Fund Fellowship Alfred E. Chase Fellowship

TMC Class Sponsors: The Clowes Fund • Estate of Harold G. Colt, Jr. • Estate of Margaret Lee Crofts • Charles E. Culpeper Foundation • Cora and Ted Ginsberg • Merrill Lynch Foundation • The Theodore Edson Parker Foundation • Surdna Foundation

TANGLEWOODWEEK 6 GUESTARTISTS 39

Meredith Treaster, Santa Fe, NM Caleb Quillen, Houston, TX Morris A. Schapiro Fellowship BSAV/Carrie L. Peace Fellowship Kurt Tseng, Canton, MI August Ramos, Brookline, MA Juliet Esselborn Geier Memorial Fellowship Saville Ryan and Omar Del Carlo Fellowship Mengwen Zhao, Shen Yang, China Nash Tomey, Wynnewood, PA Dorothy and Charlie Jenkins Fellowship Rosamund Sturgis Brooks Memorial Fellowship Cello Flute Meredith Bates, Philadelphia, PA Catherine Baker, Houston, TX Jonathan and Ronnie Halpern Fellowship BSO Members’ Association Fellowship Lucas Button, Syracuse, NY Blair Francis, Columbia, SC Miriam Ann Kenner Memorial Scholarship/ Suzanne and Burt Rubin Fellowship Straus Family Fellowship Johanna Gruskin, Duluth, MN Andrew Laven, Wayland, MA Messinger Family Fellowship Bay Bank/BankBoston Fellowship Kelly Zimba, Bethel Park, PA Aaron Ludwig, St. Louis, MO Eduardo and Lina Plantilla Fellowship Stephen and Dorothy Weber Fellowship Sonia Mantell, Orland Park, IL Oboe Donald Law Fellowship Mary Kausek, Claremore, OK Francesca McNeeley, Port-au-Prince, Haiti Fernand Gillet Memorial Fellowship Mr. and Mrs. Jay Marks Fellowship Alex Kinmonth, Carlisle, MA Ariana Nelson, Seattle, WA Steinberg Fellowship/ Valerie and Allen Hyman Family Fellowship Augustus Thorndike Fellowship Jakob Alfred Paul Nierenz, Lüneburg, Nicholas Tisherman, Katonah, NY Germany Leaves of Grass Fellowship Michael and Sally Gordon Fellowship William Welter II, Crescent, IA David Olson, Ashford, CT Ushers/Programmers Instrumental Fellowship, in honor of Bob Rosenblatt Mary E. Brosnan Fellowship Benjamin Stoehr, Cincinnati, OH Clarinet Dr. Marshall N. Fulton Memorial Fellowship/ Sean Krissman, Los Angeles, CA Edward G. Shufro Fund Fellowship Sydelle and Lee Blatt Fellowship/ Justine Vervelle, Paris, France Loretta and Michael Kahn Foundation Fellowship Florence Gould Foundation Fellowship Somin Lee, Seoul, South Korea Nathan Watts, Oaklyn, NJ Ruth S. Morse Fellowship James and Caroline Taylor Fellowship Daniel Parrette, Cornwall, NY Bing Wei, Shandong, China Edwin and Elaine London Family Fellowship Mr. and Mrs. David B. Arnold, Jr. Fellowship/ Andrew Sandwick, Chicago, IL Sagner Family Fellowship Stanley Chapple Fellowship Ethan Young, Oswego, IL Mr. and Mrs. Allen Z. Kluchman Memorial Bass Clarinet Fellowship Patrick Graham, Ottawa, ON, Canada Harry and Mildred Remis Fellowship Double Bass Activities of the Double Bass Section are Bassoon sponsored by June Wu. Activities of the Bassoon Section are sponsored by Scott and Ellen Hand. Nina DeCesare, Baltimore, MD Pokross/Curhan/Wasserman Fellowship J. Pearson Altizer, San Antonio, TX Kevin Gobetz, Long Island, NY John and Elizabeth Loder Fellowship Robert and Luise Kleinberg Fellowship Toby Chan, Hong Kong Evan Hulbert, Tacoma, WA Robert G. McClellan, Jr. & IBM Matching George and Ginger Elvin Fellowship Grants Fellowship Alanna Jones, Auckland, New Zealand Catherine Chen, Greenwich, CT Jan Brett and Joe Hearne Fellowship Denis and Diana Osgood Tottenham Fellowship

TMC Class Co-Sponsors: Joan and Richard Barovick • Catherine and Paul Buttenwieser • Ranny Cooper and David Smith • Norma and Jerry Strassler

TANGLEWOODWEEK 6 GUESTARTISTS 41 Ben Roidl-Ward, Tacoma, WA Emily Levin, Centennial, CO Berkshire Holding Corporation Fellowship/ John and Susanne Grandin Fellowship Sherman Walt Memorial Fellowship Percussion Horn Ethan Ahmad, Katy, TX Jesse Clevenger, Winnetka, IL Daphne Brooks Prout Fellowship Joel And Susan Cartun Fellowship/ Matthew Howard, Los Angeles, CA Stephen and Persis Morris Fellowship William Randolph Hearst Foundation Fellowship Eileen Coyne, Chepachet, RI Michael Jarrett, Atlanta, GA Edward G. Shufro Fund Fellowship Helene R. and Norman L. Cahners Fellowship/ Chris Jackson, DeLand, FL KMD Foundation Fellowship Susan B. Kaplan Fellowship Brian Maloney, Catskill, NY Ryan Little, Herndon, VA Barbara Lee/Raymond E. Lee Foundation Edward I. and Carole J. Rudman Fellowship Fellowship Sarah Sutherland, Clinton Corners, NY Robert O’Brien, Fairﬁeld, CT Red Lion Inn/Blantyre Fellowship William E. Crofut Family Scholarship/ John Turman, Austin, TX Avedis Zildjian Fellowship, in honor of Vic Firth Tappan Dixey Brooks Memorial Fellowship Jiye Oh, Seoul, Korea Edward S. Brackett, Jr. Fellowship Trumpet Tristan Clarke, Alexandria, VA Instrumental Piano André M. Côme Memorial Fellowship Elisa D’Auria, Salerno, Italy Daniel Henderson, Perth, Western Felicia Montealegre Bernstein Fellowship/ Australia Adele and John Gray Memorial Fellowship Herzog-Simon Friendship Fellowship George Xiaoyuan Fu, Frederick, MD Ansel Norris, Madison, WI Paul Jacobs Memorial Fellowship Armando A. Ghitalla Fellowship Bob Logan, Kenosha, WI Rebecca Oliverio, Beltsville, MD Wilhelmina C. Sandwen Memorial Fellowship Brookline Youth Concerts Awards David McEvoy, Hampton, ON, Canada Committee Fellowship/ Mr. and Mrs. Joseph L. Cohen Fellowship Harry and Marion Dubbs Fellowship Austin Williams, Acworth, GA Vocal Piano Ushers and Programmers Fellowship in honor Jeremy Chan, Sydney, NSW, Australia of Phil Foster and Herb Messinger Marie Gillet Fellowship Rich Coburn, Nelson, BC, Canada Tenor Trombone Nat Cole Memorial Fellowship/ Activities of the Trombone Sections are sponsored R. Amory Thorndike Fellowship by Ronald and Karen Rettner. Pierre-André Doucet, Moncton, NB, Canada Dan DeVere, Orono, MN Peggy Rockefeller Memorial Fellowship T. Donald and Janet Eisenstein Fellowship/ Daniel Fung, Vancouver, BC, Canada Anonymous Fellowship Leonard Bernstein Fellowship Derek Hawkes, Plano, TX Rachael Kerr, Grand Rapids, MI William F.and Juliana W. Thompson Fellowship Billy Joel Keyboard Fellowship James Tobias, Wynnewood, PA Ethel Barber Eno Scholarship/ Soprano Arthur and Barbara Kravitz Fellowship Sophia Burgos, Chicago, IL Thelma Fisher Fellowship Bass Trombone Elizabeth Fischborn, Austin, TX Ryo Teratani, Osaka, Japan Hannah and Walter Shmerler Fellowship Starr Foundation Fellowship Lucy Fitz Gibbon, Davis, CA Tuba Eunice Alberts and Adelle Alberts Vocal Studies Colby Parker, Portland, OR Fellowship Mr. and Mrs. Daniel Pierce Fellowship/ Nola Richardson, Sydney, Australia Winkler/Drezner Fellowship Lia and William Poorvu Fellowship Suzanne Rigden, Dartmouth, NS, Canada Harp Miriam H. and S. Sidney Stoneman Fellowship Caroline Bembia, Merrick, NY Sarah Tuttle, Warren, ME Kathleen Hall Banks Fellowship/ Marion Callanan Memorial Fellowship/ Dr. Raymond and Hannah H. Schneider Bernice and Lizbeth Krupp Fellowship Fellowship

42 Alison Wahl, Rochester, NY Kate Moore, Sydney, NSW, Australia Ushers/Programmers Harry Stedman Vocal William and Mary Greve Foundation-John J. Fellowship Tommaney Memorial Fellowship Alyssa Wills, Westminster, CA Nathan Shields, Poughkeepsie, NY Luke B. Hancock Foundation Fellowship Patricia Plum Wylde Fellowship Mezzo-Soprano Library Zoe Band, Toronto, ON, Canada Nadia Myers, Brisbane, Queensland, Naomi and Philip Kruvant Family Fellowship Australia Kristin Gornstein, Long Beach, IN C. D. Jackson Fellowship Claire and Millard Pryor Fellowship Rachel Vann, Nashville, TN Quinn Middleman, Portland, OR Judy Gardiner Fellowship Athena and James Garivaltis Fellowship Paulina Villarreal, Torreón, Coahuila, Piano Technology Mexico Nathaniel Lane, North Attleboro, MA Richard F. Gold Memorial Scholarship/ Stephanie Morris Marryott & Franklin J. Tisch Foundation Scholarship Marryott Fellowship Micah Sundholm, Creswell, OR Tenor Miriam H. and S. Sidney Stoneman Fellowship Patrick Kilbride, Hawthorn Woods, IL Marillyn Zacharis Fellowship Publications Barrett Radziun, Cambridge, MN Zoë Madonna, Maplewood, NJ Pearl and Alvin Schottenfeld Fellowship/ Arno and Maria Maris Student Memorial Mary H. Smith Scholarship Fellowship Jason Weisinger, Baldwin, NY New Fromm Players Eugene Cook Scholarship/ Samantha Bennett, violin, Ames, IA Andrall and Joanne Pearson Scholarship Jesse Christeson, cello, Daytona Beach, FL Baritone Andrew Hsu, piano, Fremont, CA Simon Barrad, Long Beach, CA Martha Long, ﬂute, Chapel Hill, NC Dr. Richard M. Shiff Fellowship George Nickson, percussion, Port Saint Dimitri Katotakis, Toronto, ON, Canada Sarasota, FL Kandell Family Fellowship/ Samuel Rothstein, clarinet, Vernon Hills, IL Cynthia L. Spark Scholarship Jacob Shack, viola, Andover, MA Lifan Zhu, violin, Shanghai, China Bass-Baritone Davone Tines, Orlean, VA The New Fromm Players is an ensemble of Leah Jansizian Memorial Scholarship/ musicians drawn from recent TMC alumni who Everett and Margery Jassy Fellowship have distinguished themselves in the performance of new music. These artists will concentrate Conducting almost exclusively on this literature, performing Activities of the Conducting Class are spon- works by the TMC Composition Fellows and sored by the Seiji Ozawa Fellowship Fund. works demanding lengthy and intensive preparation during the Festival of Contemporary Marzena Diakun, Koszalin, Poland Music. The New Fromm Players ensemble has Maurice Abravanel Scholarship/ been funded by a generous grant from the Evelyn and Phil Spitalny Fellowship Fromm Music Foundation. Ruth Reinhardt, Saarbrücken, Germany Edward H. and Joyce Linde Fellowship Guest Conductor, Festival of Contemporary Music Composition Christian Reif, Rosenheim, Germany Ryan Chase, Albany, NY Leonard Bernstein Fellowship Conducting Seminar (August 5-16) Natalie Draper, Bethesda, MD Nathan Aspinall, Kerem Hasan, Kanat Otto Eckstein Family Fellowship Omarov, Jack Ridley Aaron Holloway-Nahum, Minneapolis, MN Elliott Carter Memorial Composer Fellowship The Conducting Seminar Program is sponsored by the Claudia and Steven Perles Family Foundation. Loren Loiacono, Stony Brook, NY Merwin Geffen, M.D. and Norman Solomon, M.D. Fellowship

TANGLEWOODWEEK 6 GUESTARTISTS 43

2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, August 9, 2:30pm SPONSORED BY EMC CORPORATION

CHARLES DUTOIT conducting

MUSSORGSKY “Night on Bald Mountain,” arranged and orchestrated by Nikolai Rimsky-Korsakov

GLAZUNOV Violin Concerto in A minor, Opus 82 Moderato—Andante— Allegro JOSHUA BELL

{Intermission}

BERLIOZ “Symphonie fantastique,” Episode from the life of an artist, Opus 14 Reveries, passions. Largo—Allegro agitato e appassionato assai—Religiosamente A ball. Valse: Allegro non troppo Scene in the country. Adagio March to the scaffold. Allegretto non troppo Dream of a witches’ sabbath. Larghetto—Allegro

The performance of Glazunov’s Violin Concerto is supported by a gift from Lynn and Ken Stark.

TANGLEWOODWEEK 6 SUNDAYPROGRAM 45 NOTES ON THE PROGRAM

Modest Mussorgsky (1839-1881) “Night on Bald Mountain,” arranged and orchestrated by Nikolai Rimsky Korsakov First performance: October 15, 1886, St. Petersburg, Russian Symphony Society, Nikolai Rimsky-Korsakov cond. First BSO performance: April 22, 1920, Pierre Monteux cond. First Tanglewood performance: August 12, 1948, Leonard Bernstein cond. Most recent (and also the only other, until now) Tanglewood performance: August 9, 2003, Paavo Järvi cond. Mussorgsky, at the age of twenty-five, still a beginner as a composer, wrote an orchestral piece on the general style of Liszt’s Danse Macabre—music which itself had much intrigued the Russian circle. Mussorgsky then worked upon a setting of Medgen’s drama The Witch; his music was to describe “the assembly of the witches, various episodes of witchcraft, the pageant of all the sorcerers, and a finale, the witch dance and homage to Satan.” He was much pleased with his sketches, and wrote to Balakirev in September 1860: “It may be possible to turn out something very good.” But Balakirev was cool in his criticism, and the sketches were laid away. In 1867, and then again in 1871 and 1877, with different projects in mind, Mussorgsky again brought out this music, which characteristically he was for- ever reworking but never finishing. (In 1871, Mussorgsky was assigned the scene of a watches’ sabbath in the second act—“The Sacrifice to the Black Goat on Bald Mountain”—of an opera, Mlada, to have been composed jointly by Cui, Borodin, Mussorgsky, and Rimsky-Korsakov. This project also fell through.) After Mussorgsky’s death, Rimsky-Korsakov undertook the rounding out of A Night on Bald Mountain, together with other fragmentary works of his colleague. The score made its appearance in 1886 and contains the following description: “Subterranean sounds of unearthly voices. Appearance of the Spirits of Darkness, followed by that of the god Chernobog. Glorification of Chernobog, and celebration of the Black Mass. Witches’ Sabbath. At the height of the orgies, the bell of the little village church is heard from afar. The Spirits of Darkness are dispersed. Daybreak.”

From notes by JOHN N. BURK John N. Burk was program annotator of the Boston Symphony Orchestra from 1934 to 1966. Stu Rosner

46 Alexander Glazunov (1865-1936) Violin Concerto in A minor, Opus 82 First performance: February 17, 1905, St. Petersburg, Glazunov cond., Leopold Auer (the work’s dedicatee), soloist. First BSO performance: October 27, 1911, Max Fiedler cond., Efrem Zimbalist, soloist. This is the first performance at Tanglewood, the work having last been played by the BSO in November 1988 at Symphony Hall, Seiji Ozawa cond., Frank Peter Zimmermann, soloist. Alexander Glazunov is one of those artists who achieve high fame early in life and then never really surpass that youthful brilliance, with the result that his career seems in retrospect almost to have stagnated. It did not start that way: when he began harmony lessons with Rimsky-Korsakov at the beginning of 1880, the astonished teacher remarked that “his musical development pro- gressed not by days but by hours.” Two years later, when young Glazunov was just seventeen, he appeared as the composer of a symphony, described by his teacher as “young in inspiration but already mature in technique and structure.” He had an exceptional memory that allowed him to preserve the overture to Borodin’s unfinished opera Prince Igor, which Borodin had played for his friends on the piano, but never written down, after the composer's early death, from the memory of those drawing room performances. He became a busy conductor, an activity he enjoyed enormously, though he was never a real master of the podium. He spent decades in service to the St. Petersburg Conservatory, twenty years as its director. He was tireless in that capacity, working to improve the school at all levels. When he took on the position, he was at the height of his powers, but gradually over the years his music showed something of a decline. The great nationalist school of the preceding generation had done its work, and Glazunov was part of the generation that produced a rapprochement with the art of western Europe. But despite the fact that he composed eight symphonies (he left a ninth unfinished), the logic of symphonic structure was never his great strength. He created elegant, attractive melodies; when these were employed in ballets, where they needed relatively little development, they achieved lasting success (particularly Raymond and The Seasons). His symphonies, on the other hand, were regarded by many younger musicians (including Stravinsky, himself a Rimsky-Korsakov student some twenty years after Glazunov had been) as increasingly academic, growing ever farther away from the Russian spirit. Still, Glazunov’s orchestral works have appeared on recordings with increasing fre- quency in recent decades, allowing us the opportunity of drawing our own conclu- sions, and Boris Schwarz’s article in the latest edition of The New Grove maintains that the Eighth Symphony and the Violin Concerto are his best pieces. Certainly the Violin Concerto reveals a wonderful imagination for the possibilities of the solo instrument, which the composer did not play himself (though he did play piano, cello, clarinet, horn, bassoon, and percussion). The sweetness of his melodic invention, and the imaginative orchestral coloration—especially in the last movement— were surely responsible for the work’s immediate success. The concerto is played straight through without pause; on paper it appears to have two movements, but it really offers the expected three movements in a somewhat unusual arrangement, with the slow movement (Andante) appearing in the development section of the first movement. Immediately at its end the soloist begins an extended cadenza. The cellos and basses begin a sustained pedal on E, over which the soloist completes the cadenza; this runs directly to the appearance of the trum-

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 47 pets with a jovial hunting theme in 6/8 that leads off the rondo-finale. Here the brilliance of Glazunov’s writing for the solo instrument is seconded by the bright sounds of piccolo, upper woodwinds, harp, and triangle in a shimmering bell-like effect— not the great deep bells of the Kremlin, but rather perhaps of sleigh bells. A later episode offers the soloist in pizzicato chords possibly intended to suggest a balalaika. The concerto ends with a rush of harmonics.

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

Hector Berlioz (1803-1869) “Symphonie fantastique,” Episode from the life of an artist, Opus 14 First performance: December 5, 1830, Paris, François-Antoine Habeneck cond. First BSO performance: December 19, 1885, Wilhelm Gericke cond. (preceded by performances of the waltz and slow movement under Gericke and Emil Paur). First Tangle- wood performance: August 8, 1948, Eleazar de Carvalho cond. Most recent Tanglewood performance: August 5, 2012, Lorin Maazel cond. On December 9, 1832—two years after its first performance, and as vividly recounted in his own Memoirs—Hector Berlioz won the heart of his beloved Harriet Smithson, whom he had never met, with a concert including the Symphonie fantastique, for which she had unknowingly served as inspiration when the composer fell hopelessly in love with her some years before. The two met the next day and were married on the following October 4. (The unfortunate but true conclusion to this seemingly happy tale is that the two were formally separated in 1844.*) Berlioz saw the Irish actress Harriet Smithson for the first time on September 11, 1827, when she played Ophelia in Hamlet with a troupe of English actors visiting Paris. By the time of her departure from Paris in 1829, Berlioz had made himself known to her through letters, but they did not meet. By Feb- ruary 6, 1830, he had hoped to begin his “Episode from the life of an artist,” a symphony reflecting the ardor of his “infernal passion,” but his creative capabilities remained paralyzed until that April, when gossip (later discredited) linking Harriet with her manager provided the impetus for him to conceive a program that ended with the transformation of her previously unsullied image into a participant in the infernal witches’ sabbath depicted in the last movement of the Symphonie fantastique. Though Berlioz ultimately came to feel that the titles of the five individual movements—I. Reveries, passions; II. A Ball; III. Scene in the Country; IV. March to the Scaffold; V. Dream of a Witches’ Sabbath—spoke well enough for themselves, he originally specified that his own detailed program be distributed to the audience at the first performance. For present purposes, it is worth quoting from that program’s

* As Michael Steinberg has written, “Her French was roughly on the level of his English. The whole business was a disaster.” By the time they separated, “Smithson had lost her looks, and an accident had put an end to her career. She died in 1854, an alcoholic and paralyzed.”

48 opening paragraph, with its reference to the symphony’s principal musical theme: A young musician of morbidly sensitive temperament and fiery imagination poisons himself with opium in a fit of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his sensations, his emotions, his memories are transformed in his sick mind into musical thoughts and images. The loved one herself has become a melody to him, an idée fixe as it were, that he encounters and hears everywhere. The idée fixe, as much a psychological fixation as a musical one, is introduced in the violins and flute at the start of the first movement’s Allegro section. Its appearance “everywhere” in the course of the symphony includes a ball in the midst of a brilliant party; during a quiet summer evening in the country (where it appears against a background texture of agitated strings, leading to a dramatic outburst before the restoration of calm); in the artist’s last thoughts before he is executed, in a dream, for the murder of his beloved (at the end of the March to the Scaffold); and during his posthumous participation in a wild witches’ sabbath, following his execution, at which the melody representing his beloved appears, grotesquely transformed, to join a “devilish orgy” whose diabolically frenzied climax combines the Dies irae from the Mass for the Dead with the witches’ round dance. Today, more than 175 years after its first performance, it is easy to forget that when the Symphonie fantastique was new, Beethoven’s symphonies had just recently reached France, Beethoven himself having died only in 1827. With its much more specific programmatic intent, Berlioz’s work is already a far cry even from Beethoven’s own Pastoral Symphony of 1808. David Cairns has written that “Berlioz in the ‘Fantastic’ symphony was speaking a new language: not only a new language of orchestral sound...but also a new language of feeling.” Countless aspects of this score are representative of Berlioz’s individual musical style, among them his rhythmically flexible, characteristically long-spun melodies, of which the idée fixe is a prime example; the quick juxtaposition of contrasting harmonies, as in the rapid-fire chords at the end of the March; the telling and often novel use of particular instruments, whether the harps at the Ball, the unaccompanied English horn in dialogue with the offstage oboe at the start of the Scene in the Country, or the quick tapping of bows on strings to suggest the dancing skeletons of the Witches’ Sabbath; and his precise concern with dynamic markings. And all of this becomes even more striking when one considers that the Symphonie fantastique is the composer’s earliest big orchestral work, composed when he was not yet thirty, and that the great, mature works—Roméo et Juliette, The Damnation of Faust, the operas Les Troyens and Béatrice et Bénédict among them—would follow only years and decades later.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 49 50 Guest Artists

For a biography of Charles Dutoit, see page 12.

Joshua Bell Joshua Bell is one of the most celebrated violinists of his era; his restless curiosity, passion, and multifaceted musical interests are almost unparalleled in the world of classical music. Named music director of the Academy of St. Martin in the Fields in 2011, Mr. Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. An exclusive Sony Classical artist, Mr. Bell has recorded more than forty CDs, garnering Grammy, Mercury, Gramophone, and Echo Klassik awards since his first LP recording at age eighteen on the Decca label. Mr. Bell kicks off his fall 2015 season performing with the Houston, St. Louis, and Indianapolis symphony orchestras. A United States recital tour with pianist Sam Haywood, a European tour with the Academy of St. Martin in the Fields, and three concerts as guest soloist with the New York Philharmonic led by Alan Gilbert end the year and start 2016. The new year brings a U.S. recital tour with Sam Haywood and a tour with the Academy of St. Martin in the Fields. Also on his schedule are orchestral dates celebrating the Baltimore Symphony Orchestra’s centennial season under conductor Marin Alsop, as well as performances with the Orchestre de Paris conducted by Paavo Järvi and with the London Symphony Orchestra. Following a recital tour of Asia with Alessio Bax, Mr. Bell returns to Europe for a recital tour with Sam Haywood, is guest soloist in a return engagement with the Detroit Sym- phony, and then travels to the Middle East to tour with the Israel Philharmonic led by Michael Stern. Born in Bloomington, Indiana, Joshua Bell received his first violin at age four and at twelve began studying with the legendary Josef Gingold at Indiana University. At age fourteen he began his rise to stardom, performing with Riccardo Muti and the Philadelphia Orchestra and at seventeen making his Carnegie Hall debut and touring Europe for the first time. Perhaps the event that helped most to transform his reputation from “musician’s musician” to “household name” was his incognito performance in a Washington, D.C., subway station in 2007. Ever adventurous, Mr. Bell had agreed to participate in Gene Weingarten’s Washington Post story, an examination of art and context. The story earned Mr. Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. Joshua Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte. He has appeared regularly with the Boston Symphony Orchestra since his BSO debut in July 1989 at Tanglewood, where he has performed annually since that occasion, marking the 25th anniversary of his first Tanglewood appearance last summer. In addition to his Tanglewood and Symphony Hall appearances with the orchestra, he has also been soloist with the BSO at Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center. Kevin Toler

TANGLEWOODWEEK 6 GUESTARTISTS 51 The Catherine and Paul Buttenwieser Concert Sunday, August 9, 2015 Sunday evening’s performance is supported by a generous gift from Great Benefactors Catherine and Paul Buttenwieser. Elected a BSO Overseer in 1998 and Trustee in 2000, Paul currently serves as President of the Board of Trustees. He served as a Vice-Chairman of the Board of Trustees from 2010 to 2013. Paul’s interest in music began at a young age, when he studied piano, violin, clarinet, and conducting as a child and teenager. Together, Paul and Katie developed their lifelong love of music, and they have attended the BSO’s performances at Symphony Hall and Tanglewood for more than fifty years. The Buttenwiesers have generously supported numerous BSO initiatives, including BSO commissions of new works, guest artist appearances at Symphony Hall and Tanglewood, fellowships at the Tanglewood Music Center, and Opening Nights at Symphony and Tanglewood. They also endowed a BSO first violin chair, currently held by Aza Raykhtsaum. Paul and Katie, who have served on many gala committees, chaired Opening Night at Symphony for the 2008-09 season. Paul serves on the Executive, Leadership Gifts, and Trustees Nominating and Governance committees, and was a member of the Search Committee recom- mending the appointment of Andris Nelsons as the BSO’s Ray and Maria Stata Music Director. The Buttenwiesers support many arts organizations in Boston, and they are deeply involved with the community and social justice. Paul recently stepped down as chairman of the Institute of Contemporary Art, Boston, after a decade of leading the Board of Trustees. He is a trustee and former chair of the American Repertory Theater, trustee of Partners in Health, honorary trustee of the Museum of Fine Arts, Boston, fellow of the American Academy of Arts and Sciences, member of the President’s Advisory Council at Berklee College of Music and the Director’s Advisory Council of the Harvard University Art Museums, and former overseer of Harvard University. In 1988, Paul and Katie founded the Family-to-Family Project, an agency that works with homeless families in eastern Massachusetts. Katie, who is a social worker, spent most of her career in early child development before moving into hospice and bereavement work. She is a graduate of Mount Holyoke College and the Boston University School of Social Work. Paul is a psychiatrist who specializes in children and adolescents, and is also a writer. He is a graduate of Harvard College and Harvard Medical School. Stu Rosner

52 2015 Tanglewood

Sunday, August 9, 8pm THE CATHERINE AND PAUL BUTTENWIESER CONCERT

YO-YO MA, cello EMANUEL AX, piano

ALL-BEETHOVEN PROGRAM The Complete Sonatas for Cello and Piano

Sonata No. 1 in F, Opus 5, No. 1 Adagio sostenuto—Allegro Rondo: Allegro vivace

Sonata No. 2 in G minor, Opus 5, No. 2 Adagio sostenuto ed espressivo—Allegro molto più tosto presto Rondo: Allegro

Sonata No. 3 in A, Opus 69 Allegro ma non tanto Scherzo: Allegro molto Adagio cantabile—Allegro vivace

{Intermission}

Sonata No. 4 in C, Opus 102, No. 1 Andante—Allegro vivace Adagio—Allegro vivace

Sonata No. 5 in D, Opus 102, No. 2 Allegro con brio Adagio con molto sentimento d’affetto Allegro—Allegro fugato

This summer, Emanuel Ax and Yo-Yo Ma are the Boston Symphony Orchestra’s inaugural Koussevitzky Artists, acknowledging their commitment to teaching and performing at Tanglewood and their decades-long associations with the BSO.

TANGLEWOODWEEK 6 SUNDAYPROGRAM 53

NOTES ON THE PROGRAM

Poet Derek Walcott once observed that he came of age in the West Indies, where there were few if any writers to be found. And so, Walcott said, he had a culture and a language all to himself, and that is a great gift for an artist. Beethoven must have felt something like that when, at age twenty-five, laboring to make his name as a composer, he encountered a king who was a passionate cellist and an employee who was one of the prime virtuosos of the day. The king was Friedrich Wilhelm II and the cellist Jean Louis Duport, whom Beethoven met at the Prussian court during a 1796 concert tour. Beethoven was already a famous pianist, most admired for his fiery improvisations. His musical consciousness was founded above all on Haydn and Mozart. But neither of those men, or anybody else, had written serious works for cello and piano. Now a great cellist wanted pieces and the king was ready to pay for them. So Beethoven found himself with a chance to create, in effect, a new medium. In the two sonatas of Opus 5 he responded with a boldness and mastery that belies the old notion of Beethoven’s “first period,” when he was supposedly honing his craft and finding his voice. Added to that, Opus 5 arrived at a critical point in the history of the instruments. In the late 18th century, both cello and piano were coming into their own. It was a period of intensive development of the piano, a process in which Beethoven would be centrally involved. Meanwhile, in their string quartets Haydn and Mozart had begun to liberate the cello from its role as a drudge on the bass line. The next stage was the development of a solo chamber repertoire, and with Opus 5, Beethoven began that history. The two contrasting sonatas of Opus 5, in F major and G minor, share an overall formal plan: both are in two expansive movements, an allegro and a faster rondo; both have long first-movement introductions; both immediately establish the equality of the two instruments, with material regularly traded between them; both exploit the virtuosity of the cello and its gift for long singing lines. The opening of the Sonata No. 1 in F major reveals a distinctive approach, the halt- ing, meditative first measures resolving into a songful and chromatic cello solo with rippling piano accompaniment. That leads to an apparently stolid F-major Allegro that acquires depth and turbulence en route, in the context of an unflagging rhythmic drive. The latter quality also applies to the tuneful and folksy rondo, marked Allegro vivace, with its ironic minor-key episode reminiscent of the pseudo-exotic “Turkish” style of the day.

Sonata No. 2 in G minor is like No. 1 in its plan, but ups the ante in every dimension: richer in harmony, melody, and expressive scope, all in all one of the most interest- ing and ambitious of Beethoven’s first-period works. The enormous introduction prophecies the Pathétique Sonata in its declamatory pathos alternating with broad singing lines. The ensuing Allegro starts with an inward and subdued tone, but soon launches into a churning intensity; then comes a second theme suddenly hope- ful and bustling, proto-Schubertian in its lyricism. That dramatic and surprising emotional narrative marks the rest of the movement. It seems to end on a note of G-minor defiance when, with another sudden shift, a new coda erupts, sinks to whis- pers, rises again to great G major shouts. The Rondo finale is genial and dancing, while at the same time the piano’s main theme is a touch subdued in its middle register (the piano has the lead in much of the movement). Through contrasting episodes there is a sense of rising confidence

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 55 and lightness until the rondo theme finally breaks out in the piano’s brilliant high register, from where racing rhythms and good spirits prevail to the end.

The Sonata No. 3 in A major, Opus 69, is in three movements, giving the music a scope and sweep approaching that of Beethoven’s string quartets. On the first page, beginning with a quiet, epigrammatic motto for cello alone, the central elements are established. First, the piano enters with the second phrase of the theme and continues with a repeat of the motto: this sonata will be a story of equals who constantly echo one another. Second, the opening theme contains in embryo all the themes of the sonata. Third, for all its impact much of the work will be surprisingly subdued in volume. Fourth, both cello and piano interject small cadenzas into the music, as if reflecting on its course. The straightforward A major of the first page is suddenly shadowed by a turn to a passionate A minor, and that change echoes through the movement: the expected E major of the second theme is startlingly prepared by E minor, and the E major is oddly un-sunny for that usually bright key. By the end of the exposition the music has turned pealingly triumphant. That triumph, though, is the last one for a while— and there, perhaps, is the essence of this particular journey. The development section is largely quiet, minor, undramatic except for a furioso outburst in the middle. The recap is much expanded and recomposed, developmental, the cello more dominant, much of the music still quiet and inward. The note of triumph has vanished. By the end the movement has taken on an almost Hamlet-like quality of reflection and retreat. The scherzo in A minor is rhythmically quirky and offbeat, with a touch of the demonic. Its lyrical Trio section, repeated twice, is

56 marked dolce, “sweetly.” The loud moments are almost grimly assertive, but it ends nearly inaudibly in sighs and fragments. Next comes what seems to be an aria-like slow movement, stately and formal in tone, but it suddenly breaks off and we discover it is an introduction to the Allegro vivace of the last movement. This begins with a broad A major theme recalling that of the opening. Once again, much of the music is quiet where we expect otherwise. Has the triumph from the first movement vanished for good? No: after a muted opening of the development, the music finds that tone again. From that point, racing joy is unleashed and prevails to the end.

With the pair of sonatas in Opus 102, from 1815, we are at the door of the third period, with some of its trademarks: intensified contrasts, often juxtaposed with little or no transition. The Sonata No. 4 in C, Opus 102, No. 1, is perhaps the most subtle of all the cello sonatas, the most unusual in how it’s put together. It begins with cello alone on a gently flowing line, then a phrase for piano picks up the idea, and so on until both are playing together. The effect is less like solo and accompaniment than like a wedded pair of equals wandering through a long Andante introduction of sur- passing lyric grace. What comes next is the first of several surprises: a muscular and driving Vivace in A minor that unfolds compactly, with a short development perhaps because the movement is a bit developmental all the way. It ends still in A minor. Next comes a dreamlike and improvisatory Adagio that works its way to a varied repeat of the opening music. Beethoven is turning away from the transparent dramatic “narratives” of his middle period to more poetic kinds of unfolding, sometimes with ideas recurring more or less literally in later movements. Old patterns like sonata form are still present but sunk beneath the surface, so the music has a more improvisatory quality. So what comes next? A dashing and ironic Allegro vivace with rustic cello drones, which the composer rarely surpassed in sheer delightfulness.

Beethoven’s last cello sonata, the compact Sonata No. 5 in D major, Op. 102, No. 2, begins with a dynamic motto in piano, countered by a soaring phrase in cello: here is the central dichotomy of the piece. The dominant tone throughout the movement is bold and ebullient, with lyrical interludes. The blunt one-two rhythm of the opening motto will turn up all the way to the end of the piece. The lyrical trend flowers in the remarkable second movement, marked Adagio con molto sentimento d’affetto. We are close to the sublime slow movements of the third period, with their long, time-stopping lines. The music becomes ornamented, rhapsodic, finally slips into an uncanny atmosphere prophetic of Schubert—his Doppelgänger or his weird organ-grinder, in the late songs. The finale is another trademark of Beethoven’s late period, a fugue. He said that if you were going to write fugues in his time they needed to have something poetic, a new kind of expressiveness, and certainly this one does. There is a headlong madcap drive, full of rhythmic jolts and quirks, that prefigures his maddest foray into the genre, the Grosse Fuge. It’s a splendid finish in a genre that Beethoven virtually invented, and in which he created unsurpassed models.

JAN SWAFFORD Jan Swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, The Vintage Guide to Classical Music, and, published last summer, Beethoven: Anguish and Triumph. He is currently working on a biography of Mozart.

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 57 Guest Artists Yo-Yo Ma Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the Western classical tradition, he strives to find connections that stimulate the imagination. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. Throughout his career, he has expanded the cello repertoire, performing lesser- known music of the twentieth century and premieres of new works by a diverse group of composers. His wide-ranging discography of over ninety albums includes more than seventeen Grammy award-winners. One of Mr. Ma’s goals is the explo- ration of music as a means of communication and as a vehicle for the migration of ideas across a range of cultures throughout the world. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music with its distinctive instruments and the music of the Kalahari bush people in Africa. Expanding upon this interest, in 1998 Mr. Ma established Silkroad, a nonprofit organization that seeks to create meaningful change at the intersections of the arts, education, and business. Under his artistic direction, Silkroad presents performances by the acclaimed Silk Road Ensemble and develops new music, cultural partnerships, education programs, and cross-disciplinary collaborations. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma helps provide collaborative musical leadership and guidance on innovative program development for the Negaunee Music Institute of the Chicago Symphony Orchestra, and for Chicago Symphony artistic initiatives. His work focuses on the transformative power music can have in individuals’

58 lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities. Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. The recipient of numerous awards, Yo-Yo Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. For more information, visit www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com. This summer (along with Emanuel Ax) Yo-Yo Ma is one of Tanglewood’s two inaugural Koussevitzky Artists, named for the legendary founder of the BSO’s summer music festival, and reflecting his commitment to teaching and performing at Tanglewood, as well as his decades-long relationship with the BSO.

Emanuel Ax Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He studied at the Juilliard School and Columbia University, cap- turing public attention in 1974 when he won the first Arthur Rubinstein Inter- national Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. Highlighting his 2014-15 season are two major projects: curating a two- week “Celebrate the Piano” festival with the Toronto Symphony, to encompass performances by multiple pianists including Mr. Ax; and a European tour with the Philadelphia Orchestra and Yannick Nézet-Séguin preceded by a joint appearance at Carnegie Hall. Mr. Ax returns this season to the orchestras of New York, Los Angeles, San Francisco, Boston, Cincinnati, Dallas, Washington, Nashville, Atlanta, St. Louis, Montreal, and Ottawa. Recitals take him to Van- couver, San Francisco, and the midwest, ending in Lincoln Center’s Tully Hall, where he also appears in duo with baritone Simon Keenlyside. In Europe he returns to the Berlin Philharmonic followed by a tour to Vienna, Salzburg, Graz, and London performing Winterreise with Mr. Keenlyside; plays both Brahms concertos in Amsterdam and Paris with the Chamber Orchestra of Europe under Bernard Haitink; and appears with the London Symphony, Czech Philharmonic, Tonhalle Zurich, and the national orchestras of Toulouse and Lyon. An exclusive Sony Classical recording artist since 1987, Mr. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms cello sonatas. Recent releases include Mendelssohn trios with Mr. Ma and Itzhak Perlman, Strauss’s Enoch Arden nar- rated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In recent years Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, Melinda Wagner, and (at Tanglewood this summer) Robert Zuidam. Also devoted to chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki; they have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. Please visit www.emanuelax.com for more information. This summer (along with Yo-Yo Ma) Emanuel Ax is one of Tanglewood’s two inaugural Koussevitzky Artists, named for the legendary founder of the BSO’s summer music festival, and reflecting his commitment to teaching and performing at Tanglewood, as well as his decades-long relationship with the BSO.

TANGLEWOODWEEK 6 GUESTARTISTS 59 Maestro Circle

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

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Lizbeth and George Krupp • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

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

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Carol and Irv Smokler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman •

60 Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Elaine and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Mr. and Mrs. Martin G. Isserlis • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler and Mr. Jeffrey Cohen • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 to $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon •

TANGLEWOODWEEK 6 SOCIETYGIVINGATTANGLEWOOD 61 Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. and Mrs. John Schwebel • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Ms. Shirley B. Barnes • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs • William E. Briggs and Donald Usher • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk •

62 Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Mr. and Mrs. Richard Jaffe • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Mr. and Mrs. Arthur J. Levey • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Evan Mallah • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (3)

TANGLEWOODWEEK 6 SOCIETYGIVINGATTANGLEWOOD 63 Tanglewood Major Corporate Sponsors 2015 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to be returning for a second season as sponsor of the Boston Pops at Tanglewood. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast®. Learn more at VisitSarasotaArts.org.

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

August at Tanglewood

Saturday, August 1, 10:30am Thursday, August 6, 8pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) EMANUEL AX, piano BSO program of Sunday, August 2 LEONIDAS KAVAKOS, violin YO-YO MA, cello Saturday, August 1, 8:30pm All-Brahms program BSO—ANDRIS NELSONS, conductor JEAN-YVES THIBAUDET, piano Friday, August 7, 6pm (Prelude Concert) RENAUD CAPUÇON, violin MEMBERS OF THE BSO GAUTIER CAPUÇON, cello All-Dvoˇrák program

BEETHOVEN Triple Concerto for piano, Friday, August 7, 8:30pm violin, and cello SHOSTAKOVICH Symphony No. 10 The Serge and Olga Koussevitzky Memorial Concert Sunday, August 2, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—ANDRIS NELSONS, conductor LEONIDAS KAVAKOS, violin HÅKAN HARDENBERGER, trumpet RAVEL Mother Goose Suite YO-YO MA, cello SIBELIUS Violin Concerto STEVEN ANSELL, viola STRAVINSKY Petrushka (1911 version) HAYDN Symphony No. 90 Saturday, August 8, 10:30am DEAN Dramatis personae, Music for Trumpet and Orchestra Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STRAUSS Don Quixote BSO program of Sunday, August 9

Sunday, August 2, 8pm Saturday, August 8, 8:30pm TMC ORCHESTRA—KEN-DAVID MASUR TMC 75th Anniversary Gala and TMC CONDUCTING FELLOWS, The Leonard Bernstein Memorial Concert conductors TMC ORCHESTRA—ANDRIS NELSONS, DAWN UPSHAW, soprano conductor TMC VOCAL FELLOWS ERIN WALL, CHRISTINE GOERKE, ERIN A TMC 75 Opera Celebration: excerpts from MORLEY, LIOBA BRAUN, JANE HENSCHEL, Mozart’s Idomeneo, Golijov’s Ainadamar, and KLAUS FLORIAN VOGT, MATTHIAS Britten’s Albert Herring GOERNE, and AIN ANGER, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 4, 8:30pm (Gala Concert) BOSTON UNIVERSITY TANGLEWOOD Tanglewood on Parade INSTITUTE CHORUS (Grounds open at 2pm for music and AMERICAN BOYCHOIR activities throughout the afternoon) MAHLER Symphony No. 8 BSO, BOSTON POPS ORCHESTRA, and TMC ORCHESTRA Sunday, August 9, 2:30pm STÉPHANE DENÈVE, KEITH LOCKHART, BSO—CHARLES DUTOIT, conductor ANDRIS NELSONS, and JOHN WILLIAMS, JOSHUA BELL, violin conductors Music of Berlioz, Shostakovich, Ravel, MUSSORGSKY Night on Bald Mountain Williams, Kabalevsky, and Tchaikovsky, plus GLAZUNOV Violin Concerto an anniversary tribute to Frank Sinatra BERLIOZ Symphonie fantastique Fireworks to follow the concert Sunday, August 9, 8pm Wednesday, August 5, 8pm YO-YO MA, cello MATTHIAS GOERNE, baritone EMANUEL AX, piano MARKUS HINTERHÄUSER, piano Beethoven’s complete sonatas for cello Schubert’s Winterreise and piano Wednesday, August 12, 8pm CHRISTIAN TETZLAFF, violin Solo violin music of Ysaÿe, Bach, Kurtág, and Bartók

Thursday, August 13, 8pm Sunday, August 16, 2:30pm YO-YO MA, cello BSO (Beethoven) and TMCO (Copland)— with MIKE BLOCK, MONIKA LESKOVAR, ASHER FISCH, conductor and GIOVANNI SOLLIMA, cellos JULIANNA DI GIACOMO, RENÉE TATUM, BOSTON CELLO QUARTET PAUL GROVES, and JOHN RELYEA, vocal “A Distant Mirror” (inspired by Barbara’s soloists Tuchman’s book): a program exploring the TANGLEWOOD FESTIVAL CHORUS musical worlds and contemporary resonances COPLAND Symphonic Ode of the late 16th and early 17th centuries, BEETHOVEN Symphony No.9 and of the period’s most celebrated literary figures, Shakespeare and Cervantes Friday, August 21, 8:30pm Friday, August 14, 6pm (Prelude Concert) BOSTON POPS ESPLANADE ORCHESTRA TANGLEWOOD FESTIVAL CHORUS KEITH LOCKHART, conductor JOHN OLIVER, conductor CIRQUE DE LA SYMPHONIE Music of Bach, Barber, Brahms, and Copland A magical fusion of circus and classical music, featuring aerial flyers, acrobats, contortionists, Friday, August 14, 8:30pm dancers, jugglers, balancers, and strongmen along with the Boston Pops BSO—ANDRIS NELSONS, conductor CHRISTIAN TETZLAFF, violin Saturday, August 22, 8:30pm MENDELSSOHN Violin Concerto John Williams’ Film Night MAHLER Symphony No. 6 BOSTON POPS ESPLANADE ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Saturday, August 15, 10:30am conductors Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 16 Sunday, August 23, 4pm JOHN PIZZARELLI & JESSICA MOLASKEY Saturday, August 15, 8:30pm “Radio Deluxe Live” BSO—ANDRIS NELSONS, conductor KRISTINE OPOLAIS, soprano Thursday, August 27, 7pm BARBER Second Essay for Orchestra EDDIE IZZARD BOITO “L’altra note infondo al mare” from Friday, August 28, 7pm Mefistofele PUCCINI Intermezzo from Manon Lescaut THE PIANO GUYS VERDI Willow Song and “Ave Maria” from Saturday, August 29, 7pm Otello STRAUSS Ein Heldenleben IDINA MENZEL Friday, September 4, 7pm HARRY CONNICK, JR.

Saturday, September 5, 8:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor KRISTIN CHENOWETH, special guest

Programs and artists subject to change. 2015 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm Saturday, July 11, 6pm Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Amphion Foundation, the COPLAND Symphonic Ode Fromm Music Foundation, the National Endowment BEETHOVEN Symphony No. 9 for the Arts, the Ernest von Siemens Music Foundation, and the Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have combined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

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

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 • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

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 • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Joanne Trebelhorn, Tanglewood Operations Manager

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

Business Office

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

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

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

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

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

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

Sales, Subscription, and Marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • 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 Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Lee • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-chair, Tanglewood Business Partners Committee Mary Jane White, Co-chair, Tanglewood Business Partners Committee Accounting/Tax Services Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder Advertising/Marketing/Consulting Barry L. Beyer • Ed Bride Associates • The Cohen Group • LA Communications • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffee House Automotive Autobahn Service • Balise Lexus • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan) Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc. • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC • SAVORY HARVEST CATERING Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy Lipton Energy • VIKING FUEL OIL CO. INC. Financial Services American Investment Services • Frank Battista, CFP® • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • BLUE SPARK CAPITAL ADVISORS • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance • Jacqueline A. Metsma • Stockbridge Risk Management • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Berkshire Legacy • Birchwood Inn • BLANTYRE • The Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires • Devonfield Inn • An English Hideaway Inn • THE GARDEN GABLES INN • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • New Yorker Electronics • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. • Volkert Precision Technologies, Inc. • Anonymous Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D., PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, MSW • Dr. Joseph Markoff • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • SECURITY SELF STORAGE Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, Inc. • Hurwit Investments, Ltd. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc. • Julie Weiss, Cohen + White Associates • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Panda House Restaurant • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade • SoCo Creamery • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon Peter Alvarez Salon • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Classical Tents & Party Goods • Mahaiwe Tent, Inc. • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Pignatelli Electric • Michael Renzi Painting Co. LLC Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

Mary and J.P. Barger • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • 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 • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko Dynner ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall