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boston symphony orchestra andris nelsons music director

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

SPLENDOR, Guido Reni, MYTH, AND VISION

THROUGH OCTOBER 10

CLARKART.EDU WILLIAMSTOWN, MASSACHUSETTS

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

135th season, 2015–2016

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

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

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

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

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

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

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

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

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

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

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

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

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

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

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

Tanglewood Information

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

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2016

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

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

Andris Nelsons

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

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

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

SARASOTA. WHERE ARTISTIC EXPRESSION AND INSPIRATION MEET.

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JULY 1 – AUGUST 14 BARDSUMMERSCAPE 2016

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

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

Friday, August 19, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA DEJAN LAZIC,´ piano Messiaen’s “Quartet for the End of Time”

Friday, August 19, 8pm 6 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting MENAHEM PRESSLER, piano SIMONA ŠATUROVÁ, MARIANNA PIZZOLATO, PAVOL BRESLIK, and RICCARDO ZANELLATO, vocal soloists TANGLEWOOD FESTIVAL CHORUS Music of Mozart and Rossini

Saturday, August 20, 8pm 27 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting KRISTINE OPOLAIS, VIOLETA URMANA, ANDREA CARÈ, ALFREDO NIGRO, FRANCO VASSALLO, MORRIS ROBINSON, and KWANGCHUL YOUN, vocal soloists TANGLEWOOD FESTIVAL CHORUS Verdi’s “Aida,” Acts I and II

Sunday, August 21, 2:30pm 42 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting ROBERT SHEENA, English horn DEJAN LAZIC,´ piano Music of Berlioz, Tsontakis, Saint-Saëns, and Prokoﬁev

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

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

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

TANGLEWOOD WEEK 7 TABLE OF CONTENTS 1 2016 Tanglewood

Prelude Concert Friday, August 19, 6pm Florence Gould Auditorium, Seiji Ozawa Hall MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA MICHAEL WAYNE, clarinet GLEN CHERRY, violin ADAM ESBENSEN, cello DEJAN LAZIC´ , piano

MESSIAEN “Quartet for the End of Time,” for clarinet, violin, cello, and piano I. Liturgy of crystal II. Vocalise, for the Angel who announces the end of time III. Abyss of the birds IV. Interlude V. Praise to the Eternity of Jesus VI. Dance of fury, for the seven trumpets VII. Cluster of rainbows, for the Angel who announces the end of Time VIII. Praise to the Immortality of Jesus

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.

2 NOTES ON THE PROGRAM

The French composer, teacher, and organist Olivier Messiaen (1908-1992) wrote his extraordinary Quartet for the End of Time under equally extraordinary circumstances. In June 1940, Messiaen was among a group of French soldiers captured by the Germans. Sent to Stalag VIII-A in Saxony, he there met a violinist, clarinetist, and cellist for whom he composed a piece that ultimately became the fourth-movement Interlude of the Quartet for the End of Time. Having finished the quartet in January 1941, Messiaen joined his three captive-colleagues for the first performance that January 15, before an audience of prisoners from France, Belgium, Poland, and elsewhere. Messiaen’s quartet was inspired by the Biblical vision of the Apocalypse in the tenth chapter of Revelation, wherein “an angel, full of strength, descending from the sky, clad with a cloud, covered with a rainbow...lifted his hand to the sky and swore by Him who lives in the centuries of centuries saying: There shall be no time.” The Biblically symbolic absence of time is also reflected in the music, which, by virtue of its slow tempos and irregular rhythms, lacks a regular pulse. Other hallmarks of Messiaen’s musical style and language also evident in the Quartet for the End of Time are his remarkable and evocative use of musical color, his lifelong fascination with birdsong (here represented for the first time in his musical output), and his underly- ing Catholic faith (which Messiaen himself once called “the most important aspect” of his music). Following the war, Messiaen applied his unique treatment of musical colors and rhythms, along with his continuing interest in birdsong, to several works concerned with the qualities of human (as opposed to purely Christian) love in all of its aspects. Noteworthy among these works was his massive Turangalîla-symphony, an extended musical reflection on love inspired by the legend of Tristan and Isolde and aspects of Hindu mysticism. The work’s title derives from a compound Sanskrit word mean- ing many things at once: a song of love, a hymn to joy, and the play of the cosmos, encompassing time, movement, life, and death. Messiaen wrote Turangalîla in response to a commission from Serge Koussevitzky for the Boston Symphony Or- chestra, which gave the world premiere in 1949 under Leonard Bernstein’s direction. Decades later, all of the elements so important to Messiaen’s world-view would come together in the composition that marked the culmination of his life’s work, the six-hour opera St. Francis of Assisi, commissioned from Messiaen by the Paris Opera in 1975, composed to his own libretto, and premiered in November 1983 under the direction of Seiji Ozawa. The composer’s own words—excerpted from the preface to his score—are the best guide to the music of his Quartet for the End of Time: I. Liturgy of crystal. Between three and four in the morning, the waking of the birds; a solo blackbird or nightingale improvises, surrounded by sounding dusts, by a halo of trills lost high up in the trees. Transpose this to the religious plane: you hear the harmonious silence of Heaven. II. Vocalise, for the Angel who announces the end of Time. The first and third parts (very short) conjure the power of this strong angel, covered with a rainbow and clad with clouds, who sets one foot on the sea and the other on the earth. The “milieu”: the impalpable harmonies of heaven. In the piano: soft cascades of blue-orange chords, surrounding the plainsong-like chant of the violin and cello with their distant chime. III. Abyss of the birds. Solo clarinet. The abyss is Time, with its sadness, its

TANGLEWOOD WEEK 7 PRELUDE PROGRAM NOTES 3 weariness. The birds are the opposite of Time; this is our desire for light, stars, rainbows, and jubilant vocalises. IV. Interlude. A scherzo, more extrovert than the other movements, but melodi- cally suggestive of them. V. Praise to the Eternity of Jesus. Jesus is here considered as the Word. A long phrase, infinitely slow, in the cello, magnifies with love and reverence the eternity of the powerful yet mild Word, “whose years shall not get used up.”...“In the beginning was the Word, and the Word was with God, and the Word was God.” [Gospel According to John, I:1] VI. Dance of fury, for the seven trumpets. Rhythmically, the most characteristic movement. The four instruments in unison [suggest] gongs and trumpets (...the trumpet of the seventh angel announces the consummation of God’s mystery)... Listen especially to the terrible fortissimo of the theme in augmentation, and the registral changes to its different notes, at the end. VII. Cluster of rainbows, for the Angel who announces the end of Time. Bring- ing back certain passages from the second movement. The Angel full of strength appears, and especially the rainbow that covers him (the rainbow, symbol of peace, of wisdom, of all luminous and tonal vibration). In my dreams, I hear and see classes of chords and melodies, familiar colors and shapes; then, after this transitory stage, I pass into the unreal and undergo with ecstasy a wheeling, a giratory compenetration of superhuman sounds and colors. These swords of fire, these orange-blue lava-flows, these sudden stars: behold the jumble, behold the rainbows! VIII. Praise to the Immortality of Jesus. A broad violin solo, counterpart to the fifth movement’s cello solo. Why this second praise? It is addressed more specif- ically to the second aspect of Jesus, to Jesus the Man, to the Word become flesh, the immortal reborn one who imparts us his life. This is the whole of love...the ascension of man before God, of the child of God before his Father, of the crea- ture made divine before Paradise.

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

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

4 Artists

For a biography of Dejan Lazić, see page 55. Michael Wayne joined the Boston Symphony Orchestra’s clarinet section in Sep- tember 2008. He has performed as an orchestral, chamber, and solo musician throughout North and South America, Europe, and Asia. After finishing his studies at the University of Michigan in 2003, Mr. Wayne became a member of the Kansas City Symphony. In addition to his duties in Kansas City, he was also a member of the Grand Teton Festival Orchestra. Mr. Wayne has performed with the New World Sym- phony, Phoenix Symphony, and Kansas City Chamber Orchestra, and at the Colora- do Music Festival. In 2005 he gave the world premiere of Michael Daugherty’s clarinet concerto Brooklyn Bridge at Carnegie Hall, subsequently recording the work for Equilibrium Records. He made his solo debut performing Nielsen’s Clarinet Con- certo, and has performed as soloist with such ensembles as the University of Michi- gan Symphony Orchestra and Corpus Christi Wind Symphony. Mr. Wayne received first place in the wind division of the Kingsville International Solo Competition and was a medalist at the Fischoff National Chamber Music Competition. He has participated in festivals including the Music Academy of the West, Verbier, National Orchestral Institute, and Hot Springs Music Festival. In 2003 he received a Whitaker Advanced Study Grant through the Music Academy of the West to further his studies in orchestral clarinet performance. Other honors include the Earl V. Moore Award in Music from the University of Michigan and a Fine Arts Award from the Interlo- chen Arts Academy. His teachers include Richard Hawkins and Fred Ormand. Violinist Glen Cherry grew up in a musical family in South Dakota. He attended the Interlochen Arts Academy and went on to study with James Buswell at the New England Conservatory of Music. In addition to attending several summer music festivals, he was a Tanglewood Music Center Fellow for three summers. Mr. Cherry performed with the National Symphony Orchestra for three years before moving to Boston. Prior to that, he served as associate concertmaster of the Fort Wayne Philharmonic and was a member of the New World Symphony in Miami Beach. His recent chamber music activities have included performing in the First Monday concert series at Jordan Hall and performing and recording with the Boston Symphony Chamber Players. He joined the Boston Symphony Orchestra in January 2006 and currently occupies the Ronald G. and Ronni J. Casty Chair. Adam Esbensen joined the Boston Symphony Orchestra in September 2008 after five years as a cellist with the Oregon Symphony. Mr. Esbensen began his studies at the Cleveland Institute of Music, where he studied with Stephen Geber, then went on to earn a master of music degree and performance award from the Mannes College of Music. During his two years in New York City he studied with Timothy Eddy and performed around the state as part of the Mozart and Chopin festivals. In 2001 Mr. Esbensen joined the cello section of the Louisville Orchestra, where he played for two years before moving back to his home state of Oregon. While living in Portland, he took an interest in new music as a member of the Fear No Music ensemble and at the Ernest Bloch Composer’s Symposium. He has spent summers at festivals in Taos, Vail, Spoleto (Italy), Bellingham, and San Luis Obispo, and has performed on several occasions with the Boston Symphony Chamber Players. Mr. Esbensen’s other teachers and influences include Hamilton Cheifetz, John Kadz, and Pamela Frame. With his BSO colleagues Blaise Déjardin, Mihail Jojatu, and Alexandre Lecarme, he is a founding member of the Boston Cello Quartet.

TANGLEWOOD WEEK 7 PRELUDE PROGRAM NOTES 5 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Friday, August 19, 8pm THE PEGGY REISER AND CHARLES COONEY CONCERT “UnderScore Friday” concert, including introductory comments from the stage by a member of the Boston Symphony Orchestra

CHARLES DUTOIT conducting

MOZART Overture to “The Marriage of Figaro,” K.492

MOZART Piano Concerto No. 23 in A, K.488 Allegro Adagio Allegro assai MENAHEM PRESSLER

{Intermission}

Charles Dutoit, himself a student at Tanglewood in 1959, is Tanglewood’s 2016 Koussevitzky Artist, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the BSO.

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

6 ROSSINI “Stabat Mater” I. Stabat mater dolorosa II. Cujus animam III. Quis est homo IV. Pro peccatis V. Eia, mater VI. Sancta mater VII. Fac ut portem VIII. Inﬂammatus IX. Quando corpus morietur X. In sempiterna saecula. Amen SIMONA ŠATUROVÁ, soprano MARIANNA PIZZOLATO, mezzo-soprano PAVOL BRESLIK, tenor RICCARDO ZANELLATO, bass TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, guest chorus conductor

Text and translation begin on page 14.

The performance of Mozart’s Piano Concerto No. 23 in A, K.488, is supported by a gift from Lynn and Ken Stark.

This evening’s Tanglewood Festival Chorus performance is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Please note that Matthew Polenzani has regretfully had to withdraw from tonight’s performance of Rossini’s “Stabat Mater” due to a throat infection. We are fortunate that tenor Pavol Breslik was available to appear tonight at short notice in Mr. Polenzani’s place. Stu Rosner

TANGLEWOOD WEEK 7 FRIDAY PROGRAM 7 The Peggy Reiser and Charles Cooney Concert Friday, August 19, 2016 The performance on Friday evening is supported by a generous gift from BSO Overseer Dr. Charles L. Cooney and his wife, Peggy Reiser. Charlie and Peggy have attended concerts at both Symphony Hall and Tanglewood for more than three decades. They began their BSO subscription in 1980; they joined the orchestra on its European Tour in summer 2015. Charlie and Peggy are longtime supporters of the Tanglewood and Symphony Annual Funds. In addition to supporting the annual funds, they have generously supported the Tanglewood Forever Fund, the Immedi- ate Impacts Funds, and the Symphony and Tanglewood Galas. Charlie was elected to the BSO Board of Overseers in 2004. He was previously a member of the Overseers Nominating Committee and Leadership Gifts Committee. Charlie and Peggy have served on the Tanglewood Gala Benefactor Committee for several years. Charlie is the Robert T. Haslam Professor of Chemical Engineering, Emeritus at the Massachusetts Institute of Technology (MIT). He joined the faculty at MIT in 1970 and was the founding faculty director of the Deshpande Center for Technological Innovation, executive ofﬁcer of the Department of Chemical Engineering, and co- director of the Sloan Foundation Program on the Pharmaceutical Industry at MIT, among other roles. He has published extensively in his ﬁeld of biochemical engineering and has worked with many small and large biotechnology, pharmaceutical, and chemical companies as a consultant and/or board member. Peggy is a licensed independent clinical social worker who focuses on child adolescent mental health. She has a Ph.D. in Social Policy and Planning, and has served on boards of social service organizations serving children and families. She is active in her church and garden club and is vice-chairman of the Boston Committee of the Garden Club of America. Peggy has been an active board member of the Stockbridge Bowl Associa- tion and an overseer of the Boston Ballet, where Charlie is a trustee emeritus. Walter H. Scott

8 NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Overture to “The Marriage of Figaro,” K.492 First performance: May 1, 1786, Vienna. First BSO performance: January 1887, Wilhelm Gericke cond. First Tanglewood performance: July 12, 1964, Erich Leinsdorf cond. Most recent Tanglewood performance: August 12, 2007, Rafael Frühbeck de Burgos cond. Mozart’s three great Italian comic operas to librettos by Lorenzo da Ponte—The Marriage of Figaro, Don Giovanni, and Così fan tutte—all share the composer’s extraordinary dramatic insight into human emotions. The ﬁrst of these three operas daringly drew its libretto from a French comedy banned from Vienna for political reasons. Beaumarchais’s Le Mariage de Figaro, produced in 1784, depicted a wisecracking servant who managed to foil his master’s nefarious designs on the servant’s bride-to-be. The implications of the drama discom- ﬁtted aristocrats and crowned heads—especially since only the year before, England, a great colonial empire, had lost a war to rebellious American colonists on the other side of the ocean—and da Ponte took great pains to reassure the governmental censors that his adaptation removed anything politically untoward. Mozart turned his librettist’s adaptation of Beau- marchais into one of musical theater’s great human stories. The characters experience “a crazy day” (to translate the subtitle given both the original play and the opera) in which true love triumphs over lechery, but not without ambiguity, and not before we have laughed at delightful scenes of comic invention and sym- pathized with near-heartbreak. The brilliance and non-stop hustle of the overture— written last, just two days before the May 1, 1786 premiere in Vienna—sets the emo- tional tempo for the “crazy day” to follow.

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

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 23 in A, K.488 First performance: Presumably soon after the completion date of March 2, 1786, in Vienna, Mozart, soloist. First BSO performance: February 1929, Serge Koussevitzky cond., Nikolai Orloff, soloist. First Tanglewood performance: July 13, 1956, Pierre Lubo- schutz cond., Boris Goldovsky, soloist. Most recent Tanglewood performance: July 17, 2009, James Levine cond., Leon Fleisher, soloist. Figaro was the big project for the spring of 1786, and it was ready for performance on May 1, but Mozart repeatedly interrupted himself, dashing off his one-acter The Impresario for a party at the Imperial palace at Schönbrunn, and writing three piano concertos, presumably for his own use that year. The A major is the middle one of the three, being preceded by the spacious E-ﬂat, K.482, completed at the end of Decem ber, and being followed just three weeks later by the sombre C minor, K.491. Its neigh bors are bigger. Both have trumpets and drums, and the C minor is one of the relatively rare works to allow itself both oboes and clarinets. The A major adds just one ﬂute plus pairs of clarinets, bassoons, and horns to the strings, and with the last in

TANGLEWOOD WEEK 7 FRIDAY PROGRAM NOTES 9 the whole series, K.595 in B-flat (January 1791), it is the most chamber-musical of Mozart’s mature piano concertos. It is gently spoken and, at least until the finale, shows little ambition in the direction of pianistic brilliance. Lyric and softly moon- lit—as the garden scene of Figaro might be, were there no sexual menace in it—it shares something in atmosphere with later works in the same key, the great violin sonata, K.526, the Clarinet Quintet, and the Clarinet Concerto. The first movement is music of lovely and touching gallantry. Its second chord, dark- ened by the unexpected G-natural in the second violins, already suggests the melan- choly that will cast fleeting shadows throughout the concerto and dominate its slow move ment altogether. The two main themes are related more than they are contrast- ed, and part of what is at once fascinating and delightful is the difference in the way Mozart scores them. He begins both with strings alone. The first he continues with an answering phrase just for winds, punctuated twice by forceful string chords, and that leads to the first pas sage for the full orchestra. But now that the sound of the winds has been introduced and established, Mozart can proceed more subtly. In the new theme, a bassoon joins the violins nine measures into the melody, and, as though encouraged by that, the flute ap pears in mid-phrase, softly to add its sound to the texture, with horns and clarinets ar riving just in time to reinforce the cadence. When the same melody reappears about a minute-and-a-half later, the piano, having started it off, is happy to retire and leave it to the violins and bassoon and flute who had invented it in the first place, but it cannot after all refrain from doubling the descending scales with quiet broken octaves, adding anoth er unobtrusively achieved, perfectly gauged touch of fresh color. Slow movements in minor keys are surprisingly uncommon in Mozart, and this one is in fact the last he writes. An “adagio” marking is rare, too, and this movement is

10 an al together astonishing transformation of the siciliano style. The orchestra’s first phrase harks back to “Wer ein Liebchen hat gefunden” (“He who has found a sweet- heart”), Osmin’s animadversions in The Abduction from the Seraglio on the proper treatment of women, but nothing in the inner life of that grouchy, fig-picking harem-steward could ever have motivated the exquisite dissonances brought about here by the bassoon’s imitation of clarinet and violins. Throughout, Mozart the pianist imagines himself as the ideal opera singer—only the Andante in the famous C major concerto, K.467, is as vocal—and a singer, furthermore, proud of her flaw- lessly achieved changes of register and of her exquisitely cultivated taste in expressive embellishment. After the restraint of the first movement and the melancholia of the second, Mozart gives us a finale of captivating high spirits. It keeps the pianist very busy in music that comes close to perpetual motion and in which there is plenty to engage our ear, now so alert to the delicacy and overflowing invention with which Mozart uses those few and quiet instruments.

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.

Gioachino Rossini (1792-1868) “Stabat Mater”

First performance: January 7, 1842, Théâtre Italien, Paris; Grisi, Albertazzi, Mario, and Tamburini, vocal soloists. First BSO performances: April 1974, Carlo Maria Giulini cond.; Phyllis Curtin, Susan Clickner, Dean Wilder, and Robert Hale, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Only other BSO performances: March 2010, Rafael Frühbeck de Burgos cond.; Albina Shagimuratova, Alice Coote, Eric Cutler, and Alfred Walker, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Gioachino Rossini is best-known for his numerous comic and serious operas, the most famous of which is The Barber of Seville, premiered at the Teatro Argentina in Rome on February 20, 1816. Rossini enjoyed an international career that finally led him to Paris, where in 1824 he became director of the Théâtre Italien. He completed his final opera, Guillaume Tell, in 1829 and then, remarkably, retired from stage composition The complex genesis of the Stabat Mater begins in 1831 with a commission from Don Manuel (Francisco) Fernandez Varela, an official of the Spanish government. Rossini completed six movements, but became ill and asked the now-forgotten composer Giovanni Tadolini to finish the rest. Varela was sure- ly none the wiser and was most certainly pleased with Rossini’s special dedication to him. This version of the work was performed only once, in Spain, on Holy Saturday of 1833, in the Chapel of San Felipe el Real, Madrid. It all might have ended there, but after Varela’s death, the manuscript for the Stabat Mater fell into the hands of the Parisian publisher Antoine Aulagnier, who believed that the composition was entirely Rossini’s. Rossini, not having anticipated the situ- ation, informed Aulagnier that he had reserved publishing rights when he gave the

TANGLEWOOD WEEK 7 FRIDAY PROGRAM NOTES 11 work to Varela and had, moreover, recently completed it. The truth was that Rossini had already granted rights to another French publisher, Eugène Troupenas. A public battle ensued, Troupenas won the settlement, and the completed Stabat Mater, with movements only by Rossini, was finally performed on January 7, 1842, at the Théâtre Italien. The Stabat Mater text is a series of lamentations on the grief of Mary, “Mother of Sor- rows” (“Mater dolorosa”), who “stood in tears beside the Cross.” Consisting of twenty verses, each of three lines in a fixed rhyme scheme, it is traditionally sung during the Roman Catholic Feast of Our Lady of Sorrows. Mary’s torment is the subject of the first eight verses, after which the speaker makes a direct plea that she accept the compassion of those who mourn with her. This change in poetic voice is marked distinctly at the beginning of the ninth verse, beginning with an invocation, “O mother, fount of love, make me feel the strength of your grief so that I may mourn with you.” What follows is a litany of deeply impassioned expressions of empathy: “make my heart burn,” “imprint the wounds,” “share with me the agony,” “Let me weep with you,” “Let me suffer his pain,” etc. The final verses beg forgiveness on Judgment Day, and the poem ends with the affirmation “Amen in sempiterna saecula” (“Amen, forever and ever”). Rossini incorporated the original twenty verses into ten musical numbers, including arias, duets, quartets, and full ensemble. Two of the segments (Nos. 5 and 9) are unaccompanied, and Rossini placed each of them strategically, No. 5 at the end of the narrative description of Mary’s sorrow, and No. 9 just before the final “Amen.” Each acts as the calm before the storm of the two largest numbers of the work, No. 6, the quartet “Sancta Mater,” and No. 10, the finale. The piece starts and ends in G minor, and the principal theme of the first movement returns as a mournful intro- duction to the last.

From notes by HELEN M. GREENWALD Musicologist Helen M. Greenwald has taught at the New England Conservatory since 1991, writes and lectures internationally on a wide range of musical subjects, and edited The Oxford Handbook of Opera, published by Oxford University Press.

TANGLEWOOD WEEK 7 FRIDAY PROGRAM NOTES 13 GIOACHINO ROSSINI “Stabat Mater”

I. Stabat Mater dolorosa CHORUS (Andantino moderato) Stabat mater dolorosa The sorrowful mother stood Juxta crucem lacrymosa weeping by the cross Dum pendebat Filius. where her Son was hanging.

II. Cujus animam TENOR (Allegretto moderato) Cujus animam gementem Her groaning heart, Contristantem et dolentem saddened and anguished, Pertransivit gladius. a sword had pierced. O quam tristis et afﬂicta O how sad and afﬂicted Fuit illa benedicta was that blessed Mater unigeniti; mother of the only-begotten; Quae moerebat et dolebat She grieved and lamented, Et tremebat, cum videbat and trembled, as she saw Nati poenas inclyti. the suffering of her child.

III. Quis est homo SOPRANO AND MEZZO-SOPRANO (Largo) Quis est homo, qui non ﬂeret, Who is the man who would not weep Christi matrem si videret if he should see the mother of Christ In tanto supplicio? in such torment? Quis non posset contristari, Who could not be saddened Piam Matrem contemplari to contemplate the blessed mother Dolentum cum Filio? grieving for her Son?

IV. Pro peccatis BASS (Allegro moderato) Pro peccatis suae gentis For the sins of his people, Vidit Jesum in tormentis, she saw Jesus in torment Et ﬂagellis subditum. and undergoing the scourge. Vidit suum dulcem natum She saw her sweet Son Moriendo desolatum desolate in dying, Dum emisit spiritum. as He gave up the spirit.

V. Eja, Mater BASS RECITATIVE AND CHORUS (Andante mosso) Eja Mater, fons amoris, Ah Mother, fount of love, Me sentire vim doloris make me feel the power of your grief, Fac, ut tecum lugeam. that I may weep with you. Fac ut ardeat cor meum Make my heart to burn In amando Christum Deum, with the love of Christ, my God, Ut sibi complaceam. so that I may please Him.

14 VI. Sancta Mater QUARTET (Andante) Sancta Mater, istud agas, Holy Mother, grant this: Crucifixi fige plagas affix the wounds of the Crucified Cordi meo valide. firmly in my heart. Tui Nati vulnerati, Share with me the anguish Tam dignati pro me pati, of your wounded Son, who Poenas mecum divide. deigned to suffer as much for me. Fac me vere tecum flere, Let me share your pain, Crucifixo condolere, mourning the crucifixion Donec ego vixero. as long as I shall live. Juxta crucem tecum stare, I desire to stand by the cross, Te libenter sociare sharing with you In planctu desidero. in your lamentations. Virgo virginum praeclara, Virgin, most noble among virgins, Mihi jam non sis amara, do not be harsh with me now, Fac me tecum plangere. let me share your grief.

VII. Fac ut portem MEZZO-SOPRANO (Andante grazioso) Fac ut portem Christi mortem, Make me bear Christ’s death, Passionis fac consortem, a partner in his passion, Et plagas recolere. and contemplate his wounds. Fac me plagis vulnerari, Make me wounded by his wounds, Fac me cruce inebriari, make me drunk with the cross Ob amorem Filii. for love of your Son.

VIII. Inﬂammatus SOPRANO AND CHORUS (Andante maestoso) Inﬂammatus et accensus, Burning with sorrow and love, Per te, Virgo, sim defensus, let me be defended by you, O virgin, in die judicii. on the day of judgment. Fac me cruce custodire, Let the cross protect me, Morte Christi praemuniri, and Christ’s death Con foveri gratia. confer grace upon me.

IX. Quando corpus morietur CHORUS (Andante) Quando corpus morietur When my body shall die, Fac ut animae donetur grant my soul Paradisi gloria. the glory of paradise.

X. In sempiterna saecula, Amen CHORUS (Allegro) Amen. Amen. In sempiterna saecula, Amen. Forever and ever, Amen.

TANGLEWOOD WEEK 7 FRIDAY PROGRAM NOTES 15 Guest Artists Charles Dutoit Charles Dutoit, who was a student at Tanglewood in 1959, is Tanglewood’s 2016 Kous- sevitzky Artist, acknowledging his commitment to teaching and performing at Tangle- wood and his decades-long association with the BSO. Since his initial Boston Symphony appearances in 1981 at Symphony Hall and 1982 at Tanglewood, he has returned frequently to the BSO podium at both venues. He conducts both the BSO and the Tanglewood Music Center Orchestra at Tanglewood. In the spring of 2013, substituting at short notice for Lorin Maazel, he led the final three programs of the BSO’s 2013-14 subscription season followed by the orchestra’s tour to China and Japan. 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. He was artistic director of the Montreal Symphony Orchestra for twenty-five years and has also held posts with the Orchestre National de France and NHK Symphony in Tokyo, of which he is currently music director emeritus. 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. Strongly interested in the younger generation of musicians, he has been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton

16 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, the Metropolitan Opera, Deutsche 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. He holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. This summer at Tanglewood, Charles Dutoit conducts the Boston Symphony Orchestra in two Friday-night concerts (August 12 and 19), led the Tanglewood Music Center Orchestra in a Monday-night concert featuring violinist Gil Shaham as soloist (August 15), and conducted a special all-Stravinsky program, “Charles Dutoit and Friends,” featuring a staged performance of the composer’s L’Histoire du soldat with violinist Chantal Juillet and members of the Boston Symphony Orchestra (August 18).

Menahem Pressler Menahem Pressler, founding member and pianist of the Beaux Arts Trio, has established himself among the world’s most distinguished and honored musicians, with a career spanning almost six decades. Mr. Pressler continues captivating audiences throughout the world as performer and pedagogue, performing solo and chamber music recitals to great critical acclaim while maintaining a dedicated and robust teaching career. Though he has appeared several times previously with the Boston Symphony Orchestra in Beethoven’s Triple Concerto as part of the Beaux Arts Trio, tonight’s appearance is his first with the BSO in a solo concerto. Born in Magdeburg, Germany in 1923, he fled Nazi Germany in 1939 and emigrated to Israel. His career was launched after he was awarded first prize at the 1946 Debussy International Piano Competition in San Francisco. This was followed by his successful American debut with the Philadelphia Orchestra under Eugene Ormandy. Since then, his extensive tours of North America and Europe have included performances with the orchestras of New York, Chicago, Cleveland, Pittsburgh, Dallas, San Francisco, London, Paris, Brussels, Oslo, Helsinki, and many others. Recent concert engagements have taken him to the Berlin Philharmonic, the Orchestre de Paris, and the Concertgebouw Orchestra. At nearly ninety he collaborated with Christoph Prégardien, playing Schubert’s Winterreise for the first time. Following lifesaving surgery and recuperation in 2015, he collaborated with Matthias Goerne in Schumann Lieder at Wigmore Hall and the Verbier Festival. In the 2015- 16 season he performs in recital and concert all over Europe, appearing in Hamburg under Kent Nagano, in Dresden and Berlin under Christian Thielemann, and with the Staatskapelle Dresden; he tours Europe, the United States, and Israel, giving recitals, playing chamber music and with orchestra, and giving master classes; and appears at such festivals as Ravinia and Tanglewood. For nearly 60 years, Menahem Pressler has taught at Indiana University Jacobs School of Music. In 2007 he was appointed an Honorary Fellow of the Jerusalem Academy of Music and Dance in recognition of a lifetime of performance and leadership in music. In 2005 he received two additional awards of international merit: the German President’s Deutsche Bundesverdienstkreuz (Cross of Merit) First Class, Germany’s highest honor; and France’s highest cultural honor, the Commandeur in the Order of Arts and Letters. Other honors include

TANGLEWOOD WEEK 7 GUEST ARTISTS 17 the Wigmore Medal (2011), the Menuhin Prize given by the Queen of Spain (2012), inductions into the American Classical Music and Gramophone Magazine Halls of Fame (2012), and the Music Teachers National Association Achievement Award. Mr. Pressler has received several honorary doctorates and six Grammy nominations. His debut as a chamber musician came in 1955 at Tanglewood, as pianist with the Beaux Arts Trio. Fittingly, Tanglewood presented the Beaux Arts Trio’s farewell American performances in August 2008. Mr. Pressler’s other chamber music collaborations have included multiple performances with the Juilliard, Emerson, American, Cleveland, Paciﬁca, and Ebène quartets. Besides his many recordings with the Beaux Arts Trio, he has made more than thirty solo recordings, ranging from Bach to Ben Haim. Recent projects include recording the complete Mozart sonatas for La Dolce Volta, and DVD releases of a live recital, concertos with Paavo Järvi and the Orchestre de Paris, the Berlin Phil- harmonic’s New Year Concert with Sir Simon Rattle, and his own 90th-birthday concert live from the Salle Pleyel in Paris. He is the subject of several books and the recent documentary “Pianist Menahem Pressler: The Life I Love.”

Simona Šaturová Born in Bratislava (Slovakia), Simona Šaturová had her first violin lesson at age five. Making her Boston Symphony Orchestra and Tanglewood debuts this evening, she studied singing at the Bratislava Conservatory and attended various master classes, most notably with the Romanian soprano Ileana Cortrubas. Since her last-minute engagement as Ilia (Idomeneo) at the Théâtre de la Monnaie in Brus- sels in 2010, she has returned there as Violetta (La traviata), Sandrina (La finta giardiniera), Servilia (La clemenza di Tito) and, most recently, as Gilda (Rigoletto). Since her success as Konstanze (Die Entführung aus dem Serail ), she has appeared frequently at the Aalto-Theater in Essen, last season singing Elettra (Idomeneo) and Konstanze. Besides numerous performances at the Prague National The- atre, she has also appeared on the stages of Teatro Colón Buenos Aires, Théâtre du Châtelet Paris, Opéra de Monte Carlo, Oper Frankfurt, Theater an der Wien, and in Athens’s Megaron Concert Hall. Her repertoire also includes the roles of Lucia (Lucia di Lammermoor), Adina (L’elisir d’amore), Gilda, Giulietta (I Capuleti e i Montecchi), Donna Anna (Don Giovanni), and Adele (Die Fledermaus). As a concert and oratorio singer, Simona Šaturová has appeared in New York, Dallas, Oslo, Detroit, Toronto, Istanbul, at the Salzburg Festival, the Oregon Bach Festival in Eugene, in Japan, Israel, and Venezuela, at the Festival Internazionale di Musica e Arte Sacra Roma, the Vienna Spring Festival, and the Schleswig-Holstein Music Festival. Conduc- tors with whom she has worked include Christoph Eschenbach, Philippe Herreweghe, Krzysztof Penderecki, Sir Neville Marriner, Sylvain Cambreling, Helmuth Rilling, Jiˇrí Bˇelohlávek, Manfred Honeck, Tomáš Netopil, Kent Nagano, Rafael Frühbeck de Bur- gos, Adam Fischer, Iván Fischer, and Christopher Hogwood. Simona Šaturová has an affinity for Mozart’s music, having sung his Mass in C minor more than seventy times, including a January 2009 performance in the Sistine Chapel as a guest of Pope Bene- dict. In the 2015-16 season she sings that work with the Mahler Chamber Orchestra under Manfred Honeck at the San Sebastian festival. Further engagements include Martin˚u’s Ariane under Tomás Netopil in Essen, Dvoˇrák’s Requiem in Budapest under Andrew Manze, Beethoven’s Symphony No. 9 with both the NDR Hannover under Herbert Blomstedt and the Gewandhausorchester Leipzig, as well as Rossini’s Stabat Mater with the Tonhalle-Orchester Zürich under Charles Dutoit and in Warsaw under Rolf Beck. She has recorded for Supraphon, Hänssler Classic, Classico, Carus Verlag, and Sony/BMG. Her first solo recording, featuring Haydn arias with the NDR Radio- philharmonie, was released in June 2009 on Orfeo and named a Gramophone “Editor’s

18 Choice.” Her most recent solo recording, “Decade” (arias by Mozart and Mysliveˇcek) was released in November 2014. In August 2007 Simona Šaturová was awarded the Wal- ter and Charlotte Hamel Foundation prize at the Schleswig-Holstein Music Festival.

Marianna Pizzolato Making her Boston Symphony Orchestra and Tanglewood debuts this evening, Mari- anna Pizzolato graduated with honors from the Bellini Conservatory in Palermo. Her teachers have included Rosemarie Cabaud, Werner Dormann, Raúl Giménez, and Claudia Carbi. She made her operatic debut in 2002 singing the title role in Rossini’s Tancredi, followed by Dorina in Cimarosa’s Il marito disperato in Caserta. She regularly performs Baroque and 18th-century repertoire, having sung works by Vivaldi, Cavalli, Handel, and Scarlatti. Since her 2003 stage debut in Il viaggio a Reims at the Rossini Opera Festival in Pesaro, she has returned there for Tancredi (title role), L’italiana in Algeri, Ermione (Andromaca), Zelmira (Emma), and La Cenerentola (title role), Rossini’s Stabat Mater, Il barbiere di Siviglia, and a solo recital. Recent operatic engagements include La Cenerentola at the Opéra National de Paris in Seville and Liège; Nabucco at London’s Royal Opera House-Covent Garden and the Gran Teatre del Liceu in Barcelona; La donna del lago in Santa Fe (U.S. debut); Orphée et Euridyce (Berlioz version) at the Festival Berlioz (La Côte-Saint-André); Il barbiere di Siviglia at San Carlo in Naples; Gluck’s Orfeo ed Euridice at the Teatro Massimo in Palermo; a concert performance and recording of Il viaggio a Reims and the 2015 opening Gala Concert at the Rossini Opera Festival in Bad Wild- bad; Maria Stuarda in Barcelona; and Zelmira at Opéra de Lyon. On the concert stage she has recently sung Rossini’s Petite Messe Solennelle in Moscow; L’italiana in Algeri at the Théâtre du Capitole in Toulouse and in Florence, and Verdi’s Requiem in Trento and Bolzano; Beethoven’s Ninth Symphony at the Festival de St. Denis; and Tancredi in Santiago de Chile. Upcoming engagements include Beethoven’s Ninth Symphony at the Menuhin Festival Gstaad and in Wroc´law (concert and recording) with the Kam- merorchester Basel under Giovanni Antonini; Tancredi in Bremen (concert version) with the Accademia Bizantina and Ottavio Dantone; Rossini’s Stabat Mater in Edin- burgh with the Accademia di Santa Cecilia under Antonio Pappano and at Tangle- wood with the Boston Symphony Orchestra under Charles Dutoit; Chausson’s Poème de l’amour et de la mer with the Bremen Philharmonic in Bremen; Il viaggio a Reims at Mos- cow’s Bolshoi Theatre; La donna del lago at Opéra Royal de Wallonie in Liège; Falstaff at Madrid’s Teatro Real, and recitals in Rouen. Marianna Pizzolato will star in the 2017 Monteverdi project conducted by John Eliot Gardiner, singing in the worldwide tour of Il ritorno di Ulisse in Patria and L’incoronazione di Poppea. Future seasons bring her Met- ropolitan Opera debut as Hedwige in Guillaume Tell. Her discography includes Cheru- bini’s Missa Solemnis (EMI), Handel’s Fernando re di Castiglia (Virgin Classics), L’italiana in Algeri, Ermione, and Vivaldi’s Rosmira fedele (Dynamic), Vivaldi’s Orlando ﬁnto pazzo (Naïve/Opus 111), La donna del lago, L’italiana in Algeri, and Gli amori d’Apollo e Dafne (Naxos), and Cimarosa’s Il marito disperato and Ascanio in Alba (Bongiovanni).

TANGLEWOOD WEEK 7 GUEST ARTISTS 19

Pavol Breslik Making his Boston Symphony Orchestra and Tanglewood debuts this evening, tenor Pavol Breslik was chosen “Most Promising Singer of the Year” in a critics’ survey in the magazine Opernwelt in 2005. Born in 1979 in Slovakia, he completed his studies at the Academy of Arts in Banska Bystrica. In 2000 he won ﬁrst prize at the Antonín-Dvoˇrák Competition in the Czech Republic. In 2002-03, he continued his education at the Opera Studio CNIPAL in Marseilles, and attended master classes with Yvonne Minton, Mady Mesplé, Mirella Freni, and William Matteuzzi. From 2003 to 2006 Mr. Breslik was a member of the Berlin State Opera Unter den Linden, where, among other roles, he was heard as Ferrando, Tamino, Don Ottavio, Nemorino (in L’elisir d’amore), Kudrjáˇs (Katya Kabanová), and the Holy Fool (Boris Godunov). During this time he gave guest performances of his Mozart parts at the Teatro Verdi in Trieste, at the Piccolo Teatro in Milan, at Théâtre de la Monnaie in Brussels, at the Glyndebourne Festival, at the Wiener Festwochen, and at the Aix-en-Provence Festival. At the Théâtre du Châtelet in Paris he performed Jaquino in Fidelio. As a freelance performer since 2006, he has appeared at the Salzburg Festival, Metropolitan Opera, Geneva’s Grand Théâtre, the Châtelet, London’s Covent Garden, the Bavarian State Opera in Munich, Deutsche Oper Ber- lin, and Zurich Opera, in roles including Mozart’s Belmonte, Idamante, Don Ottavio, and Tamino, Alfred in Die Fledermaus, Lenski in Eugene Onegin, Edgardo in Lucia di Lammermoor, Silvio in Soler’s Arbore di Diana, Macduff in Macbeth, Steva in Jen˚ufa , Nadir in The Pearl Fishers, Peter Quint in The Turn of the Screw, and the Evangelist in Bach’s St. John Passion. In Munich he sang with Edita Gruberova, giving his debut performance as Gennaro in Christof Loy’s successful new production of Donizetti’s Lucrezia Borgia. With the Berlin Philharmonic under Simon Rattle he sang Narraboth (Salome) in Berlin and Salzburg. Future plans include his debuts as Hans (The Bartered Bride), Leicester (Maria Stuarda) in Zurich, Morosus (Die schweigsame Frau), Rinuccio

TANGLEWOOD WEEK 7 GUEST ARTISTS 21 (Gianni Schicchi) in Munich, and Romeo in Hobart/Tasmania, as well as his return to the festivals of Aix-en-Provence and Munich. In concert, Pavol Breslik has performed with the London Philharmonic under Kurt Masur in Janáˇcek’s Glagolitic Mass at the BBC Proms; with Concert d’Astrée under Emmanuelle Haïm in London and Paris in Handel’s Il trionfo del tempo (recorded by Virgin Classics); at the Edinburgh Festival in Beethoven’s Mass in C and Christus am Ölberg ; with Sir Colin Davis and the London Symphony in Beethoven’s Missa solemnis; with Gustavo Dudamel and the Los Angeles Philharmonic in Don Giovanni, and with Riccardo Muti and the Bavarian Radio Sym- phony Orchestra in Berlioz’s Messe Solennelle and Roméo et Juliette. He has recorded the original version of Dvoˇrák’s Stabat Mater for Naïve with the Ensemble Accentus as well as the Missa Solemnis with Enoch zu Guttenberg.

Riccardo Zanellato Making his BSO and Tanglewood debuts this evening, bass Riccardo Zanellato studied with Arrigo Pola and Bonaldo Giaiotti, and also earned a diploma in guitar at the Music Conservatory in Adria (Italy). After winning the Iris Adami Corradetti and A. Belli competitions, he made his debut in Gounod’s Faust, and in 1996 was awarded the ﬁrst prize at the Operalia competition in Tokyo. He has since appeared on numerous prestigious international stages: Macbeth (Banquo) at the Berlin Staatsoper; Otello (Ludovico) at the Opéra Bastille in Paris; Rigoletto (Sparafucile) at Teatro alla Scala; a 2001 Verdi Gala in Parma with Domingo, Carreras, Raimondi, and Nucci led by Zubin Mehta; Donizetti’s Don Sébastien at Bologna’s Teatro Comunale; Maria Stuarda and Anna Bolena (Enrico VIII) at the Teatro Donizetti in Bergamo; Anna Bolena at Helsinki Opera; Attila, La battaglia di Legnano, and Pizzetti’s Assassinio nella cattedrale in Parma; Simon Boccanegra (Fiesco) and Norma in Catania; Rigoletto and Norma in Turin and Palermo; Aida in Genoa; Il trovatore and Aida (Ramﬁs) in Verona and Cagliari; Tancredi in Trieste; Lucia di Lammermoor (Raimondo) in Wiesbaden and Macerata; Massenet’s Le roi de Lahore and La Juive and Wolf-Ferrari’s The Cunning Widow in Venice; Nabucco (Zaccaria) in Wiesbaden, Copenhagen, Bologna, Parma, and Modena; Verdi’s Requiem in Wash- ington; Guglielmo Tell (Walter Furst) in La Coruña; Iphigénie en Tauride (Thoas) and Le nozze di Figaro in Valencia; Luisa Miller in Barcelona; La sonnambula (Count Rodolfo) in Montreal and Cagliari; Iphigénie en Aulide in Rome; I puritani (Sir Giorgio) in Amster- dam and Cagliari; Il trovatore (Ferrando) in Lausanne; and Rigoletto in Liège, on tour in France, and in Rome. He recently performed Moïse et Pharaon (Osiride), Nabucco, Macbeth, and Simon Boccanegra in Rome; La forza del destino (Padre Guardiano) in Vil- nius and Parma; Luisa Miller in Lyon and Bilbao; and the title role in Mosè in Egitto at the Rossini Opera Festival in Pesaro; Lucia di Lammermoor at the Settimane Musicali in Stresa; Rossini’s Stabat Mater in San Remo; Verdi’s Requiem in Naples, at the Verdi Fes- tival in Parma, and in Vilnius with Violeta Urmana; Poliuto and La bohème at the Opern- haus Zurich; Norma in Caracalla, and Anna Bolena in Munich. Recent and upcoming engagements include his debut at the Teatro alla Scala with Aida, singing at the Acca- demia Nazionale di Santa Cecilia in Rome under Antonio Pappano, Nabucco at the Teatro dell’Opera in Rome and in Rovigo and Stuttgart; singing Banquo in Macbeth to open the season at the Teatro Comunale di Bologna; Verdi’s Requiem in Portorico, Bologna, Barcelona, Cincinnati, St. Louis, and Vilnius, and on tour at Moscow’s Ros- tropovich Festival; Simon Boccanegra in Lyon; Norma at the Opéra in Paris, and Il trovatore at the Salzburg Festival.

22 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate This summer, in addition to its annual Friday Prelude concert in Ozawa Hall (August 26), the Tanglewood Festival Chorus joins the BSO for performances of Orff’s Carmina burana and the second suite from Ravel’s Daphnis et Chloé under Jacques Lacombe (July 9), Rossini’s Stabat Mater under Charles Dutoit (August 19), Acts I and II of Verdi’s Aida under Andris Nelsons (August 20), and Beethoven’s Ninth Symphony also under the direction of Maestro Nelsons (August 28). Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of last summer. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the newly created lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo- soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC

TANGLEWOOD WEEK 7 GUEST ARTISTS 23 members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Burton Born in London, James Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John’s College, Cam- bridge, and holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. Mr. Burton has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orquestra Sinfonica Nacio- nal with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème with English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in London’s West End and led a UK tour of Bernstein’s Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlighten- ment, Wrocław Philharmonic, and BBC Singers. Mr. Burton served as choral director from 2002-09 at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir. Since 2002 he has been music director of the chamber choir Schola Cantorum of Oxford. He collaborates regularly with leading young musicians and in 2017 will appear as guest director of the National Youth Choir of Japan and the Princeton University Glee Club. He also teaches conducting, and has given master classes at the Royal Academy of Music and Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony and a setting for chorus and orchestra of Thomas Hardy’s The Con- vergence of the Twain commemorating the 100th anniversary of the Titanic disaster. His choral works are published by Edition Peters. This past February at Symphony Hall he was guest chorus conductor for the Tanglewood Festival Chorus’s performances under Charles Dutoit of Berlioz’s Resurrexit and Te Deum.

24 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Rossini Stabat Mater, August 2016)

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

Carol Amaya • Emily Anderson • Deborah Coyle Barry • Aimée Birnbaum • Norma Caiazza • Jeni Lynn Cameron • Catherine C. Cave # • Stephanie Chambers • Anna S. Choi • Lorenzee Cole # • Sarah Dorfman Daniello # • Christine Pacheco Duquette * • Ann M. Dwelley • Diana Gamet • Bonnie Gleason • Cynde Hartman • Donna Kim • Barbara Abramoff Levy § • Sarah Mayo • Deirdre Michael • Kieran Murray • Laurie Stewart Otten • Laura Stanﬁeld Prichard • Livia M. Racz # • Emily Rosenberg • Laura C. Sanscartier • Sandra J. Shepard • Dana R. Sullivan • Alison L. Weaver • Sarah Wesley • Lauren Woo • Bethany Worrell Mezzo-Sopranos

Betty Blanchard Blume # • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet L. Buecker • Janet Casey • Cypriana Slosky Coelho • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste # • Barbara Durham • Barbara Naidich Ehrmann # • Dorrie Freedman § • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Nora Kory • Gale Tolman Livingston * • Anne Forsyth Martín • Louise-Marie Mennier • Louise Morrish • Fumiko Ohara * • Roslyn Pedlar # • Laurie R. Pessah • Lori Salzman • Ada Park Snider * • Amy Spound • Julie Steinhilber * • Celia Tafuri • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Brad W. Amidon # • Armen Babikyan • Brent Barbieri • John C. Barr # • Ryan Casperson • Jiahao Chen • John Cunningham • C Paul Dredge • Ron Efromson • Keith Erskine • Aidan Christopher Gent • Len Giambrone • Leon Grande • J. Stephen Groff * • David Halloran # • Stanley G. Hudson # • Timothy O. Jarrett • James R. Kauffman # • Thomas Kenney • Elijah Langille • Michael Levin • Lance Levine • Henry Lussier § • Ronald J. Martin • Mark Mulligan • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Blake Siskavich • Arend Sluis • Stephen E. Smith • Stephen J. Twiraga • Joseph Y. Wang • Hyun Yong Woo Basses

Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks * • Stephen J. Buck • Eric Chan • Arthur M. Dunlap • Michel Epsztein • Mark Gianino • Jay S. Gregory # • Andrew Gribbin • Marc J. Kaufman • David M. Kilroy • Bruce Kozuma # • Timothy Lanagan # • David K. Lones * • Christopher T. Loschen • Martin F. Mahoney II • Lynd Matt • Richard Oedel • Stephen H. Owades § • William Brian Parker • Donald R. Peck # • Michael Prichard # • Steven Rogers • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Alexander Teplansky • Stephen Tinkham • Bradley Turner # • Thomas C. Wang # • Terry Ward # • Matt Weaver

Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

TANGLEWOOD WEEK 7 GUEST ARTISTS 25 The Catherine and Paul Buttenwieser Concert Saturday, August 20, 2016 Saturday evening’s performance is supported by a generous gift from Great Benefac- tors 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-Chair 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 Valeria Vilker Kuch- ment. 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 recommending the appointment of Andris Nelsons as the BSO’s Ray and Maria Stata Music Director. The Buttenwiesers support many arts organizations in Boston, and 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 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

26 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Saturday, August 20, 8pm THE CATHERINE AND PAUL BUTTENWIESER CONCERT

ANDRIS NELSONS conducting

VERDI “Aida,” Acts I and II Libretto by Antonio Ghislanzoni Setting: Ancient Egypt, during the reign of the Pharaohs Act I, scene i: A hall in the King’s palace at Memphis Act I, scene ii: Inside the temple of Vulcan

{Intermission}

Act II, scene i: Amneris’ chamber Act II, scene ii: The grand gate of the city of Thebes

KRISTINE OPOLAIS, soprano (Aida, an Ethiopian princess) VIOLETA URMANA, mezzo-soprano (Amneris, daughter of the king of Egypt) ANDREA CARÈ, tenor (Radamès, captain of the Egyptian guard) ALFREDO NIGRO, tenor (Messenger) FRANCO VASSALLO, baritone (Amonasro, king of Ethiopia) MORRIS ROBINSON, bass (The King of Egypt) KWANGCHUL YOUN, bass (Ramﬁs, high priest of Egypt) BETHANY WORRELL (TFC member), soprano (High Priestess) TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, guest chorus conductor

Howard Watkins, rehearsal pianist and coach Supertitles by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA David Latham, supertitles technician Habib Azar, supertitles caller

This evening’s Tanglewood Festival Chorus performance is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOOD WEEK 7 SATURDAY PROGRAM 27 SYNOPSIS Act I, scene i. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command his army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free her and marry her. But Amneris loves Radamès, and when the three meet, she jealously senses his feelings for Aida. A messenger tells the king of Egypt and the assembled priests and soldiers that the Ethiopians are advancing. The king names Radamès to lead the army, and all join in a patriotic anthem. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. She prays to the gods for mercy. Act I, scene ii. In the temple of Vulcan, the priests consecrate Radamès to the service of the god. Ramfis orders him to protect the homeland. Act II, scene i. Ethiopia has been defeated, and Amneris waits for the triumphant return of Radamès. When Aida approaches, the princess sends away her other attendants so that she can learn her slave’s private feelings. She first pretends that Radamès has fallen in battle, then says he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris, certain she will be victorious over her rival, leaves for the triumphal procession. Act II, scene ii. At the city gates, the king and Amneris observe the celebrations and crown Radamès with a victor’s wreath. Captured Ethiopians are led in. Among them is Amonasro, Aida’s father, who signals his daughter not to reveal his identity as king. Radamès is impressed by Amonasro’s eloquent plea for mercy and asks for the death sentence on the prisoners to be overruled and for them to be freed. The king grants his request but keeps Amonasro in custody. The king declares that as a victor’s reward, Radamès will have Amneris’s hand in marriage.

Courtesy METROPOLITAN OPERA

28 NOTES ON THE PROGRAM

Giuseppe Verdi (1813-1901) “Aida,” Acts I and II First performance of “Aida”: December 24, 1871, Cairo, Egypt, Giovanni Bottesini cond. European premiere: February 8, 1872, La Scala, Milan, Franco Faccio cond. The only previous BSO performances of any music from “Aida” were of “Ritorna vincitor!”— the title character’s ﬁrst-act aria—on July 27, 1909, in Cleveland, with soloist Mrs. S.C. Ford, Max Fiedler conducting; on March 22 and 26, 1923, in Cambridge and Boston, respectively, with soloist Ester Ferrabini Jacchia, Pierre Monteux conducting; of “O patria mia”—Aida’s third-act aria—on July 24, 1966, at Tanglewood, with soloist Jane Marsh, Erich Leinsdorf conducting; and of the Triumphal Scene from Act II on July 27, 2014, Jacques Lacombe conducting, with Marjorie Owens (Aida), Elizabeth Bishop (Amneris), Issachah Savage (Radamès), Stephen Powell (Amonasro), Morris Robinson (Ramﬁs), Julien Robbins (the King), and the Tanglewood Festival Chorus, John Oliver, cond.

THE BACKGROUND By 1870, Giuseppe Verdi was grief-stricken and exhausted. 1867 was a particularly bad year, scarred by the death of Antonio Barezzi, the composer’s father-in-law and most ardent champion, and the de facto loss of his trusted collaborator, librettist Francesco Maria Piave (La traviata, Rigoletto, La forza del destino, and many more), who suffered a paralyzing stroke and lingered in a vegetative state until his death in 1876. Less than a year later, on November 13, 1868, the patriarch of “modern” Italian opera, Gioachino Rossini, died. Wearied, Verdi continued to work, completing the revision of La forza del destino (1862; rev. 1869) as well as the 1865 revision of Macbeth (1847) for Paris’s Théâtre Lyrique and, for the Opéra, the original, ﬁve-act French version of Don Carlos (1867; revised 1872, 1884, and 1886). Verdi was angry, bitter over his losses, but also beaten down and offended by his Parisian experiences, particularly at the Opéra; he vented his frustration in a now famous letter of December 7, 1869, to Don Carlos librettist Camille du Locle: “It’s very strange that a composer must always see his ideas altered and his concepts misrepresented…. [M]y ideas about art are very different from your country. I believe in inspiration; you believe in construction….” Nonetheless, he was eager for a new project, although he was not particularly interested in basing it on a French source. As he wrote to du Locle on November 12, 1868, in response to several French plays the poet had sent for consideration, “Alas, not one of them is for me. The best of them are too long, too grim…. I want something simpler, more in our style.” A new subject was, however, close at hand. Verdi had received an invitation from the Khedive of Egypt to compose an ode in honor of the opening of a new opera house in Cairo as part of the ofﬁcial inauguration of the Suez Canal (which was opened in 1869). While he declined the offer, the Egyptians remained optimistic, and did enjoy on that occasion a performance of Rigoletto, conducted by Claudio Muzio. Remarkably, the hoped-for new work was actually proposed by an Egyptian, Auguste Mariette, a famous archeologist and Egyptologist, who had written a scenario for an opera, which he had derived from his research in the tombs of the pharaohs. Mariette sent the outline to du Locle, who summarized it and sent it to Verdi, who was very pleased: “I have read the Egyptian outline. It is well done; it offers a splen- did mise-en-scène, and there are two or three situations which, if not very new, are

TANGLEWOOD WEEK 7 SATURDAY PROGRAM NOTES 29 30 certainly very beautiful.” Antonio Ghislanzoni was engaged to write the libretto in Italian, and the premiere was set for Cairo in January 1871. Even though Verdi completed the score ahead of schedule, the performance was delayed for eleven months, because of the Franco-Prussian War (which ended on May 10, 1871). But the composer never did get to Cairo, and the premiere was conducted by virtuoso bassist Giovanni Bottesini on December 24, 1871. What Verdi did do during this time was devote his energies to the Italian premiere of Aida, which took place on February 8, 1872, at La Scala in Milan, conducted by Franco Faccio (who would conduct the premiere of Otello in 1887). Verdi took an authoritative role in the production, choosing the conductor and even the size of the timpani as well as the tuning of the orchestra. He also insisted, as Alessandro Di Proﬁo has shown, on a new arrangement for the opera orchestra, in which the brass were moved as far away from the audience as possible, and the conductor placed— for the ﬁrst time in Italy—in a “modern position,” facing the musicians ( instead of being surrounded by them). The new arrangement would accommodate an orchestra expanded by bass clarinet, English horn, two harps, triangle, cymbals, tam-tam, and bass drum as well as the many onstage musicians for the “Triumphal Scene,” including six “Egyptian” trumpets (instruments with lengthy tubing and wide bells, ordered especially for the work), four standard trumpets, four trombones, and a bass drum.

THE MUSIC The dramatic platform for Aida is a series of oppositions, generating from a war between Egypt and Ethiopia, and played out emotionally in the conflict between freedom and slavery and love and duty. The music mirrors these polarities, beginning with a brief prelude comprising two main themes. First comes a muted, chro- matic melody that evades the downbeat as it glides across bar lines: this is the secret world of the lovers, sensual, intimate, and hidden. The second theme is also heard softly at first, but its diatonic counterpoint, walking bass, and steady rhythm speak definitively for strength, inevitability, and authority: here now is the royal court with its hierarchy of nobility, military, priests, priestesses, and slaves. The curtain rises as the marching theme of the prelude continues into a strategic conversation between Radamès and Ramfis. Left alone, Radamès entertains visions of military glory, as brass fanfares capture the mood. But he soon drifts into a rev- erie about Aida, as shimmering strings and solo flute underscore what may be the most well-known and beloved solo piece of the opera, the romanza “Celeste Aida.” Amneris interrupts his idyll, and the scene grows from solo to duet, to trio, and finally, to the King’s entrance and declaration of war. Amneris hails Radamès as he departs to assemble his army: “Ritorna vincitor!” The exclamation is exemplary of what Verdi called the “parola scenica”—the theatrical or scene-defining word. The assembly exits, as Aida repeats the phrase—“Ritorna vincitor!”—this time with bit- terness and sadness: she can neither cheer for Radamès’ victory nor celebrate his defeat. She must pray for her homeland and her father, the king of Ethiopia. Act I ends with the extraordinary Consecration Scene, which Verdi detailed in his letter of August 22, 1870, to Ghislanzoni: “The piece would consist of a litany intoned by the priestesses, to which the priests respond; a sacred dance to slow and sad music; a short recitative, powerful and solemn like a biblical psalm; and a prayer in two stanzas, sung by the priest and repeated by all. I should like it to have a sad, quiet character….” The orchestral colors are perfumed and mysterious, featuring solo harp, two flutes, and piccolo in an exotic accompaniment to the Sacred Dance of the Priestesses. Harp and timpani, together with two choruses—one onstage and

TANGLEWOOD WEEK 7 SATURDAY PROGRAM NOTES 31 the other offstage—climax in the declaration “Almighty Phthà!” which brings down the curtain. In Act II, scene i, Amneris dresses for a victorious celebration: she is entertained by a harp solo and Moorish slaves, who dance to the sound of woodwinds, strings, and triangle. She fantasizes about a romantic reunion with Radamès, but calls for silence when Aida enters. Amneris manipulates the troubled woman, her deceitful words shadowed throughout by a solo bassoon. An offstage fanfare and chorus inter- rupt the unsavory exchange to declare victory and bring the act to a close with the famous “Triumphal Scene.” The Triumphal Scene is a magnificent procession of royalty, officers, priests, cap- tains, fan bearers, standard bearers, slaves, and prisoners, among them Aida’s father, Amonasro. Listeners will recognize the return of the walking bass of the prelude, now understood, literally, as a march. The thrilling centerpiece of this grand finale is the so-called “Grand March,” featuring stereophonic trumpets and startling tonal shifts. A ballet follows and the scene concludes with a reprise of the opening chorus. With two more acts to follow, the Triumphal Scene will fade to distant memory as

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the plot moves inexorably to its tragic end: Aida and Radamès face death together, entombed alive, she having joined him after he is condemned for treason. Ultimate- ly the sounds of glory disintegrate into the silence of the tomb. Verdi was very pleased with the success of Aida, particularly of the Milan performance, as he wrote to his close friend Count Opprandino Avvivabene: “Last night Aida. Very good. The audience liked it. I don’t want to play modest with you: this is by no means the worst thing I’ve written and time will give it the place it deserves.”

HELEN M. GREENWALD Musicologist Helen M. Greenwald has taught at the New England Conservatory since 1991, writes and lectures internationally on a wide range of musical subjects, and edited The Oxford Handbook of Opera, published by Oxford University Press.

Guest Artists Kristine Opolais One of today’s most sought-after sopranos on the international scene, Kristine Opolais appears regularly at the Metropolitan Opera, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, and Royal Opera House, Covent Garden, working with such conductors as Barenboim, Pappano, Harding, Lan- grée, Nelsons, Noseda, Armiliato, Minkowski, Luisi, Petrenko, Altinoglu, and Ono. In the 2015-16 season Ms. Opolais returned to the Metropolitan Opera for a much-anticipated new production of Puccini’s Manon Lescaut. Puccini’s Manon has become a signature role for the soprano, following her 2014 appearances in two new productions, at the Royal Opera House and Bayerische Staatsoper. In spring 2016 she also appeared at the Metropolitan Opera as Cio-Cio San in Mad- ama Butterfly; both operas were broadcast to cinemas as part of the Met’s “Live in HD” series. Ms. Opolais has maintained a strong relationship with the Met since her 2013 debut there as Magda in La Rondine. In April 2014 she made Met history, when, within eighteen hours, she made house debuts in two roles, giving an acclaimed, scheduled performance as Cio-Cio San in Madama Butterfly, then stepping in as Mimì for a matinee performance of La bohème the very next day—a performance broadcast to cinemas around the world. Continuing her association with the Bayerische Staatsoper, she made her role debut there this season as Margherita in Boito’s Mefistofele. Since her 2010 Bayerische Staatsoper debut, when she stepped in to sing the title role in Dvoˇrák’s Rusalka, she has appeared there as Cio-Cio San, Amelia in Simon Boccanegra, Vitellia in La clemenza di Tito, and Tatiana in Eugene Onegin. This coming season she headlines a new production of Rusalka at the Metropolitan Opera. Ms. Opolais’s collaboration with the Royal Opera House has featured the Puccini roles of Cio-Cio San, Floria Tosca, and Manon Lescaut. She has also appeared at Opernhaus Zürich in the title role of Jen˚ufa and recently made her house debut at Opéra National de Paris Bastille. Recent concert performances have included appearances at the Salzburg Festival, Tanglewood, and BBC Proms, and with the Symphonieorchester des Bayerischen Rundfunks, WDR Sinfonieorchester Köln, Tonhalle Orchester Zürich, Stockholm Philharmonic, and Filarmonica della Scala. Highlights of 2015-16 included her debut with the Concert- gebouw Orchestra under Semyon Bychkov and concerts with the Boston Symphony Orchestra and Andris Nelsons on their 2016 European tour, including her debut at the Musikverein in Vienna. Recent DVDs have included Deutsche Staatsoper’s production of Prokofiev’s The Gambler, in which she sang Polina under the baton of Daniel Baren-

TANGLEWOOD WEEK 7 GUEST ARTISTS 33 boim, Rusalka from the Bayerische Staatsoper, Don Giovanni from the Aix-en-Provence Festival, and Eugene Onegin at Valencia’s Palau de les Arts Reina Soﬁa. A recent Orfeo International CD recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica was nominated for a BBC Music Magazine Award; her latest release is Simon Boccanegra with the Vienna Symphony on Decca. Kristine Opolais made her Boston Symphony Orchestra debut at Tanglewood in July 2013, in a performance of Verdi’s Requiem, and her ﬁrst Symphony Hall appearance in September 2014, as a soloist in Andris Nelsons’ inaugural concert as the BSO’s music director, a performance subsequently telecast in the PBS series “Great Performances.” She appeared with the orchestra most recently this past April singing Rachmaninoff’s “How fair this place” and the Letter Scene from Tchaikovsky’s Eugene Onegin at Symphony Hall, subsequently singing that music in Es- sen, Munich, and Vienna during the BSO’s European tour this past May.

Violeta Urmana Born in Lithuania, Violeta Urmana, who makes her BSO and Tanglewood debuts this evening, is in demand as a singer of the dramatic German and Italian repertoire. At the beginning of her career, Ms. Urmana made a name for herself worldwide as a highly acclaimed Kundry in Parsifal and as Eboli in Don Carlo. In recent years she has played such parts as Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Leonora in La forza del destino, Lady Macbeth in Macbeth, Odabella in Atti- la, the title roles in Aida, La Gioconda, Medea, Tosca, Norma, Iphigénie en Tauride, and Ariadne auf Naxos, Brünnhilde in Siegfried, Sieglinde in Die Walküre, and Isol- de in Tristan und Isolde. Violeta Urmana is a regular guest at the world’s major opera houses, including the Metropolitan Opera, the Teatro Real in Madrid, the Gran Teatre del Liceu in Barcelona, the Opéra National de Paris, Deutsche Oper Berlin, the Vienna State Opera, Teatro alla Scala in Milan, the Royal Opera House–Covent Garden in London, and at the festivals of Bayreuth, Salzburg, Aix-en-Provence, Edinburgh, and the BBC Proms. She has worked with such conductors as Claudio Abbado, Daniel Barenboim, Bertrand de Billy, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, James Conlon, James Levine, Jesús López-Cobos, Fabio Luisi, Zubin Mehta, Riccardo Muti, Sir Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Christian Thielemann, and Franz Welser-Möst. As a highly acclaimed concert and recital singer, Violeta Urmana performs music by Mahler, Strauss, Schoenberg, Berlioz, Wagner, and Verdi in noted concert halls of Europe, the United States, and Japan. Among her future engagements are Il trovatore at the Arena in Verona, Aida in Vienna, Madrid, and at the Metropolitan Opera, Verdi’s Requiem in Barcelona with the London Symphony Orchestra, in Frankfurt, and in Munich, and Parsifal in Buda- pest. Many CD and DVD recordings document her career: La Gioconda, Il trovatore, Oberto, Un ballo in maschera, Aida, La forza del destino, Macbeth, Don Carlo, Andrea Chénier, Siegfried, Parsifal, Cavalleria rusticana, Verdi’s Requiem (both soprano and mezzo parts), Mahler’s Das Lied von der Erde and Rückert-Lieder, Zemlinsky’s Maeterlinck-Lieder, Berlioz’s La Mort de Cléopâtre, Bartók’s Bluebeard’s Castle, Stravinsky’s Rossignol, songs by Richard Strauss, Berg, and Liszt, and the album “Puccini Rediscovered.” She is Kundry in Tony Palmer’s ﬁlm “The Search for the Holy Grail.” Among Violeta Urmana’s many honors are the Royal Philharmonic Society Award for singers (London) and the title Österreichische Kammersängerin (Vienna). Her homeland of Lithuania has given her its most important award: the order, third class, “Grand Duke Gedeminas of Lithua- nia.” The Lithuanian University for Music and Theatre in Vilnius has awarded her an honorary degree. In 2014 she was awarded the Commendatore dell’Ordine della Stella d’Italia by the Italian State President Giorgio Napolitano.

34 Andrea Carè Making his BSO and Tanglewood debuts this evening, Andrea Carè is one of the most prominent operatic tenors of the new generation of Italian artists. After studying at the Giuseppe Verdi Conservatory in Turin, he went on to win the 2005 Spoleto International Opera Competition. He had the privilege of studying with Lucia- no Pavarotti and is also a protégé of legendary soprano Raina Kabaivanska. Since his debut, Mr. Carè has frequently appeared at the Royal Opera House– Covent Garden, Grand Théâtre de Genève, Royal Swedish Opera, Bolshoi Theater, Gran Teatre del Liceu, Teatro Regio in Turin, Opéra National du Rhin, Opera di Roma, Deutsche Oper Berlin, Hamburg State Opera, Teatro alla Scala, La Fenice in Venice, Teatro Comunale in Bologna, Teatro Massimo in Palermo, Beijing’s National Centre for the Performing Arts, Canadian Opera Company, and Savonlinna Opera Festival. Among the conductors with whom he has worked are Daniele Callegari, Paolo Arrivabeni, Bruno Bartoletti, Riccardo Chailly, Gianandrea Noseda, Evelino Pidò, Domingo Hindoyan, Piergiorgio Morandi, Daniel Oren, and Pinchas Steinberg. His operatic roles include the title roles of Don Carlo, Stiffelio, Samson, and Sigurd, and other leading roles including Gustavo in Un ballo in maschera, Cavaradossi in Tosca, Macduff in Macbeth, Enzo Grimaldo in La Gioconda, Pollione in Norma, Giasone in Medea, Alfredo in La traviata, Pinkerton in Madama Butterﬂy, and Ctirad in Šárka. One of his signature roles is Don José in Carmen, which he has sung with the Singapore Symphony Orchestra, Bolshoi Theater in Moscow, and most notably at the Royal Opera House, all last season. Other recent highlights include Osaka in Iris at Festival de Radio France in Montpellier, Don Carlo at the Opera du Rhin, and his Boston Symphony Orchestra debut in Aida at Tanglewood. Future engagements include Carmen at the Royal Opera House, Fedora and Jen˚ufa at Royal Swedish Opera, Tosca at Finnish National Opera and Michigan Opera Theatre, Mada- ma Butterﬂy, Carmen, and Don Carlo at the Teatro Real Madrid, as well as return engagements at the Liceu for La Gioconda and at La Monnaie (Brussels) for Aida and La Gio- conda. Andrea Carè is featured on the Royal Opera House’s 2015 DVD release on Sony Classical of Nabucco, also featuring Plácido Domingo.

Alfredo Nigro Born in Taranto, Italy, Alfredo Nigro studied at the Conservatorio Nino Rota of Mono- poli (in the province of Bari) and attended the Accademia di Alto perfezionamento per cantanti lirici (Academy for opera singers) at Teatro alla Scala in Milan, where he worked with such singers as Teresa Berganza, Leyla Gencer, Ghena Dimitrova, Luigi Alva, and Luciana Serra. In April 1999 he sang the world premiere of Narciso Sabbadini’s La Divina Provvidenza with I Virtuosi di Praga conducted by Romano Gandolﬁ in Mantua, Verona, and Prague. During the same year he sang Aida in Parma. With the orchestra of Teatro Politeama Greco Lecce he has sung excerpts from Die lustige Witwe and Land des Lächelns. At La Scala in Milan he appeared in productions of Un giorno di Regno, Samson et Dali- la, Luisa Fernanda, Iphigénie en Aulide, and Fidelio. In 2004 Alfredo Nigro sang Malcolm in Macbeth at the Edinburgh Festival and at the Teatro la Maestranza in Seville, and participated in concert performances of Tristan und Isolde at the Acca- demia di Santa Cecilia in Rome. At the Teatro San Carlo in Naples he took part in the December 2004 production of Tristan und Isolde. He has also been Alfredo Germont in La traviata and Don Ottavio in Don Giovanni. For the 2007 season opening of La Scala he sang a young sailor in Tristan und Isolde conducted by Daniel Barenboim and directed by Patrice Chéreau; he returned there in 2008 for Macbeth and appeared in

TANGLEWOOD WEEK 7 GUEST ARTISTS 35 the Opéra National de Paris production of Tristan und Isolde on tour in Japan, giving further performances in 2009 of Tristan und Isolde in Milan and Macbeth in Paris. In August 2004 he gave an acclaimed recital at the Schubertiade Schwarzenberg in Aus- tria. He has sung many opera, sacred, and chamber music concerts throughout Europe and has worked with such conductors as Riccardo Muti, Zubin Mehta, Daniel Baren- boim, Gary Bertini, Sir Charles Mackerras, Myung-Whun Chung, and Maurizio Benini. Recent engagements include Malcolm in Macbeth and a young sailor/shepherd in Tristan und Isolde at Teatro Real in Madrid, Verdi’s Requiem in Vilnius, Arturo in Lucia di Lam- mermoor at the Opéra National de Paris, and a young sailor/Melot in Tristan und Isolde at Teatro San Carlo in Naples. With Violeta Urmana and Plácido Domingo, Mr. Nigro recorded a CD of Puccini rarities entitled “Puccini Rediscovered” with the Vienna Phil- harmonic Orchestra conducted by Alberto Veronesi. Among his DVD/Blu-ray recordings are Tristan und Isolde with the orchestra and chorus of Teatro alla Scala Milan led by Daniel Barenboim and Macbeth with the orchestra and chorus of Opéra National de Paris under Teodor Currentzis. Alfredo Nigro makes his Boston Symphony Orchestra and Tanglewood debuts with tonight’s concert.

Franco Vassallo Franco Vassallo is one of Italy’s leading baritones, having performed to acclaim at Teatro alla Scala as well as the great opera houses of Venice, Naples, Florence, Turin, Genoa, Rome, Parma, and Verona. He has also performed at the Metropolitan Opera in New York, Royal Opera House–Covent Garden, Bavarian State Opera in Munich, Vienna State Opera, Deutsche Oper and Staatsoper in Berlin, Opern- haus Zürich, Grand Théâtre de Genève, Baden-Baden Festival, Hamburg State Opera, Semperoper Dresden, Teatro Real de Madrid, and Teatro de São Carlos in Lisbon, as well as in Bilbao, Amsterdam, Paris, Washington, Los Angeles, and Philadelphia. Highlights of recent seasons included a new production of Rigoletto at the Bavarian State Opera in Munich as well as a new staging of Macbeth at La Scala under Gergiev. Franco Vassallo returned to the Metropolitan Opera in 2013 as Ford in the new production of Falstaff led by James Levine. He starred in Zurich Opera’s revival of Bellini’s rarely heard La straniera with Edita Gruberová, returned to the Arena di Verona as Amonasro in Aida, and starred as Count di Luna in Il trovatore at Teatro alla Scala and as Rigoletto in Munich and Hamburg. He made

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36 his debut at the Teatro Real Madrid as Monforte in a concert version of I vespri sicil- iani. Mr. Vassallo opened the 2014-15 season in Geneva as Rigoletto, made his debut at Vienna’s Theater an der Wien in La straniera, and returned to the Royal Opera House–Covent Garden as Germont in La traviata, to Vienna State Opera as Amonasro in Aida, and to the Bavarian State Opera as the Duke of Nottingham in Roberto Devereux. In the 2015-16 season he was heard as Amonasro and as Rigoletto at the Bavarian State Opera; made his role debut as Simon Boccanegra in Genoa; sang the role of Don Carlo di Vargas in a concert version of La forza del destino, and performed the title role of Falstaff at Grand Théâtre de Genève. He made his house debut at Opéra-Bastille in Paris as Rigoletto. Current and future engagements include Rigoletto at Hamburg State Opera, Verdi’s Macbeth and Ford in Falstaff at Bavarian State Opera, Don Carlo in La forza del destino at the Dutch National Opera in Amsterdam, Ford in Paris, and Don Alfonso in Lucrezia Borgia in Munich. Franco Vassallo makes his Boston Symphony Orchestra and Tanglewood debuts with tonight’s performance.

Morris Robinson Considered one of the most interesting and sought-after basses performing today, Morris Robinson regularly appears at the Metropolitan Opera and is a graduate of the Met’s Lindemann Young Artist Program. Having made his Met debut in Fidelio, he has since appeared there as Sarastro in The Magic Flute (both in the original production and in the children’s English version), Ferrando in Il trovatore, the King in Aida, and in roles in Nabucco, Tannhäuser, and new productions of Les Troyens and Salome. He has also appeared with the opera companies of San Fran- cisco, Chicago, Dallas, Houston, Boston, Pittsburgh, Philadelphia, Seattle, Los Angeles, Cincinnati, St. Louis, Vancouver, as well as Wolf Trap Opera, Opera Australia, and the Aix-en-Provence Festival. His many roles include Sarastro in Die Zauberflöte, Osmin in Die Entführung aus dem Serail, Ramfis in Aida, Zaccaria in Nabucco, Sparafucile in Rigoletto, the Commendatore in Don Giovanni, the Grand Inquisitor in Don Carlos, Timur in Turandot, the Bonze in Madama Butterfly, Padre Guardiano in La forza del destino, Ferrando in Il trovatore, and Fasolt in Das Rhein- gold. Also a prolific concert singer, Mr. Robinson has appeared with the Chicago, Atlanta, Nashville, National, Houston, Montreal, Fort Worth, Baltimore, and São Paulo symphony orchestras, the Los Angeles Philharmonic, Met Chamber Orchestra, New England String Ensemble, and at such music festivals as Ravinia, Mostly Mozart, Tan- glewood, Cincinnati May, Verbier, and Aspen. He appeared in Carnegie Hall as part of Jessye Norman’s HONOR! Festival, and has been presented in recital by Spivey Hall in Atlanta, the Savannah Music Festival, the National Academy of Sciences in Wash- ington, D.C., the Philadelphia Chamber Music Society, and New York’s Metropolitan Museum of Art. Mr. Robinson’s first album, “Going Home,” was released on the Decca label. He also appears as Joe in the newly released DVD of San Francisco Opera’s Show Boat and in DVDs of the Metropolitan Opera’s Salome and the Aix-en-Provence Festi- val’s production of Mozart’s Zaide. Recent and upcoming engagements include returns to Los Angeles Opera as Oroveso in Norma and Dallas Opera as Joe in Show Boat; concert performances with the Los Angeles Master Chorale, Milwaukee Symphony, and Baltimore Symphony; his BBC Proms debut in Verdi’s Requiem with Marin Alsop and the Orchestra of the Age of Enlightenment; and debuts at Milan’s Teatro alla Scala (title role of Porgy and Bess) and with the New York Philharmonic (Das Rheingold), both under Alan Gilbert. As the Atlanta Symphony Orchestra’s 2015-16 Artist in Residence, he appeared in several concerts and recitals throughout the season. An Atlanta native, Morris Robinson is a graduate of The Citadel and received his musical training from the Boston University Opera Institute. He has made three previous appearances at

TANGLEWOOD WEEK 7 GUEST ARTISTS 37 Tanglewood: as the Commendatore in a July 2006 concert performance of Mozart’s Don Giovanni with James Levine leading the Tanglewood Music Center Orchestra; as Osmin in Mozart’s Die Entführung aus dem Serail in July 2010 with Johannes Debus and the BSO; and as Ramﬁs in the Triumphal Scene of Aida in July 2014 with the BSO led by Jacques Lacombe.

Kwangchul Youn Born and educated in Korea, bass Kwangchul Youn was a member of the ensemble of the Berlin State Opera, where he acquired many roles in his wide-ranging repertoire, from 1993 to 2004. In recent years he has sung at renowned opera houses across Europe and overseas, including the Vienna State Opera (Faust, Die Zau- berflöte, Parsifal, Don Carlo, Tannhäuser), the Berlin State Opera (Simon Boccane- gra, Lohengrin, Das Rheingold, Eugene Onegin, Tannhäuser), Teatro alla Scala (Das Rheingold, Don Giovanni, Il trovatore, Fidelio), the Metropolitan Opera (Lucia di Lammermoor, Les Troyens), the Bavarian State Opera in Munich (Parsifal, Der fliegende Holländer, Tristan und Isolde, Il trovatore), the Semperoper Dresden (Simon Boccanegra, Lohengrin), the Royal Opera House–Covent Garden, London (Lohen- grin), the Gran Teatre del Liceu in Barcelona (Tristan und Isolde), the Opéra National de Paris (La forza del destino, Luisa Miller), Oper Frankfurt (Don Carlos), Lyric Opera of Chicago (Parsifal) and the Teatro Regio Torino (Tannhäuser, Parsifal). He has also been a guest at many festivals, including Bayreuth (Tristan, Parsifal, Die Walküre, Der fliegende Holländer), the Salzburg Festival, the Easter Festival Salzburg, the Dresdner Musikfestspiele, the Ludwigsburger Schlossfestspiele, Ravinia, the Klangbo- gen Vienna, and the Beethovenfest Bonn. Kwangchul Youn also performs frequently in concert with such orchestras as the Berlin Philharmonic, the Vienna Symphony Orchestra, the Radio Symphony Orchestra Berlin, the Accademia Santa Cecilia Roma, the VARA Radio Amsterdam, the Gulbenkian Foundation Lisbon, the Orquestra Sim- fònica de Barcelona, the Monte Carlo Orchestre Philharmonie, the orchestra of La Scala in Milan, the Rundfunk Sinfonieorchester Köln, the NHK Symphony Orchestra in Tokyo, and at the BBC Proms. He can be heard on many recordings, including the Bayreuth Festival’s Die Meistersinger von Nürnberg under Daniel Barenboim (Teldec), Croesus with René Jacobs (harmonia mundi), Fidelio (Teldec), Le nozze di Figaro, Così fan tutte, Don Giovanni, and Tiefland under Bertrand de Billy (Arte Nova), as well as Daphne with the WDR Sinfonieorchester Köln and Semyon Bychkov (Decca; Grammy- nominated as best opera production of 2006). His website is kwangchulyoun.info. Kwangchul Youl’s only previous appearances with the Boston Symphony Orchestra were as Narbal in concert performances led by James Levine of Berlioz’s Les Troyens in April/May 2008.

To read about the Tanglewood Festival Chorus and guest chorus conductor James Burton, see pages 23-24.

38 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Verdi Aida, Acts I and II, August 2016)

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

Eileen Huang, Rehearsal Pianist Howard Watkins, Italian Diction Coach Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

TANGLEWOOD WEEK 7 GUEST ARTISTS 39 Farewell, Thanks, and All Best

Three departing members of the Boston Symphony Orchestra—all to retire at the end of the 2016 Tanglewood season—will be recognized on stage following this afternoon’s concert. Violist Robert Barnes will leave the orchestra after 49 years as a member of the BSO and violist Kazuko Matsusaka after 25 years as a member of the orchestra. John Perkel became the BSO’s assistant librarian in 1998 but dates his association with the orchestra to well before that. With all best wishes for their future endeavors, we extend heartfelt thanks to all of them for their many years of dedication and service to the BSO and the musical community of Boston. Violist ROBERT BARNES joined the Boston Symphony Orchestra in 1967 and has played under ﬁve BSO music directors. Bob was born in Lexington, KY, and grew up in Detroit, MI. He began studying violin at age ﬁve, gaining early chamber music experience playing with his father, an amateur violinist, and mother, a professional horn player with the Detroit Symphony. Throughout his schooling he broadened that experience, playing in a string quartet that included his twin brother Darrel on viola and his future wife, Martha Richards, on cello. He spent a summer in the music program at Interlochen, MI, and before starting college attended the Congress of Strings in Puerto Rico, sponsored by the American Federation of Musicians. In 1961, while a sophomore at Wayne State University, he joined the violin section of the Detroit Symphony Orchestra. In 1966, after performing chamber music programs as a violist, he decided to take up the viola permanently, playing his last year in the Detroit Symphony as a violist. After winning the viola position in the BSO, Bob became involved in the newly organized “Prelude” series of chamber concerts begun during Erich Leinsdorf’s BSO tenure as music director, and performed in the opening concert. He has continued to perform in these concerts for the past 47 years. During the Tanglewood season, he has also played both solo and chamber works in a series of concerts held at High Point, a beautiful private home in Lenox, as well as concerts at the Lenox Library. He has been a member of several chamber groups, including the Cambridge Quartet, Huntington Trio, Francesco String Quartet, and Copley Trio, as well as the contemporary music group Collage, and has been soloist with the Boston Pops. He has collaborated often with his composer son David, playing viola tracks for many of David’s complex compositions. He has also taught extensively throughout his career. Besides classes of private viola students, he has taught at Lowell State College, Wellesley College, and Brown University, and coached chamber music at both the Boston University Tanglewood Institute and the Tanglewood Music Center. In his free time, Bob has enjoyed renovating his 1830s Newton house. For several years he also serviced and repaired his own automobiles and bicycles. An enthusiastic cyclist, he has loved the challenge of riding in the Berkshires. He is also an avid beer connoisseur, and during his retirement plans to travel in the USA and abroad, hoping to see many professional bicycle races and taste every local beer along the way, while his wife Martha will be sampling the local chocolatiers!

40 KAZUKO MATSUSAKA joined the viola section of the Boston Symphony in 1991, appointed that year by Seiji Ozawa. Ms. Matsusaka grew up in the Boston area, beginning violin studies at age three and later studying at NEC Preparatory Division with Eric Rosen blith. She attended Indiana University as a student of Josef Gingold and appeared as a violin soloist with several orchestras in Massachusetts, including, on two occasions, the Boston Pops Orchestra. Not satisfied with the violin, she took up the viola and completed a master’s degree at SUNY Stony Brook with John Graham. She played professionally for a time on both instruments; she was a member of the Pittsburgh Opera Orchestra, the Pittsburgh New Music Ensemble, and subbed regularly in the first violin section of the Pittsburgh Symphony under Lorin Maazel. Kazuko is a prizewinner in the Fischoff Chamber Music Competition and was awarded a special jury prize at the Lionel Tertis International Viola Competition. A Tanglewood Fellow (playing viola) in 1985, she has since appeared many times over the years in Prelude and Community concerts in Boston and at Tanglewood with her colleagues from the orchestra, as well as with, among others, Gil Shaham and Joshua Bell. Kazuko has taught violin for years in Boston, at NEC Prep and the Longy School. She was a longtime participant in the Yellow Barn Chamber Music Festival and the International Musical Arts Institute in Maine. Kazuko is also a certified instructor of therapeutic riding and a skilled equestrian. Appointed assistant librarian of the Boston Symphony Orchestra in March 1998, JOHN PERKEL dates his association with the BSO back to 1956, when he first visited Tanglewood with his family. He assumed his first librarian position in 1981, as assistant librarian with the Buffalo Philharmonic, and in 1985 was appointed principal librarian of the Rochester Philharmonic. He subsequently served as assistant principal librarian of the New York Philharmonic from 1988 to 1998, until his appointment with the BSO. In addition, since 1985 he has been librarian of the Tanglewood Music Center Orchestra, a post he has held for most summers since his arrival in Boston. John and his wife Barbara, who is assistant archivist at the BSO, plan to retire to the Berkshires, where they have a home and many friends.

TANGLEWOOD WEEK 7 FAREWELL, THANKS, AND ALL BEST 41 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Sunday, August 21, 2:30pm THE ANDREW HYMAN MEMORIAL CONCERT SPONSORED BY VALERIE AND ALLEN HYMAN

ANDRIS NELSONS conducting

BERLIOZ Overture to “Béatrice et Bénédict”

TSONTAKIS “Sonnets,” Tone Poems for English Horn and Orchestra (2015) I. Sonnet 30. When to the sessions of sweet silent thought (Sospeso [like Lohengrin opening]; ethereal, creating large spaces) II. Sonnet 12. When I do count the clock that tells the time (Meditative Eastern) III. Rondo: Sonnet 60. Like as the waves make towards the pebbled shore (Fleet) IV. Sonnet 75. So you are to my thoughts as food to life (Gentle but disturbing) ROBERT SHEENA, English horn

SAINT-SAËNS Piano Concerto No. 5 in F, Opus 103, “Egyptian” Allegro animato Andante Molto allegro DEJAN LAZIC´

{Intermission}

This year’s Boston Symphony Orchestra retirees will be acknowledged on stage at the end of today’s concert (see page 40).

42 PROKOFIEV Excerpts from the ballet “Romeo and Juliet” Morning Dance (Suite 3, No. 2) Montagues and Capulets (Suite 2, No. 1) Juliet the Young Girl (Suite 2, No. 2) Scene (“The Street Awakens”; Suite 1, No. 2) Dance (Suite 2, No. 4) Romeo and Juliet (“Balcony Scene”; Suite 1, No. 6) Masks (Suite 1, No. 5) Minuet (Suite 1, No. 4) Romeo and Juliet Before Parting (Suite 2, No. 5) The Death of Tybalt (Suite 1, No. 7)

TANGLEWOOD WEEK 7 SUNDAY PROGRAM 43 The Andrew Hyman Memorial Concert sponsored by Valerie and Allen Hyman Sunday, August 21, 2016 The performance on Sunday afternoon is supported by a generous gift from BSO Overseer Valerie Ann Hyman and her husband, Dr. Allen I. Hyman, in memory of their son. Andrew David Hyman (Andy) grew up in Englewood, New Jersey, and died on February 24, 2015, at age 49. After graduating from Columbia College and Fordham Law School, Andy served for eight years in the administration of President Bill Clinton and ten years at the Robert Wood Johnson Foundation (RWJF) in Prince- ton, New Jersey. At RWJF, he led its newly formed division, focused on improving health care for the underinsured and underserved. He was passionate about providing parity for mental health services. Risa Lavizzo-Mourey, president of RWJF, wrote, “Andy was known as a warrior for a healthier, more equitable America. He dedicated his life and career to social justice and progress for the most vulnerable people among us.” Fortunately, in his short- ened lifespan, Andy came close to his main goal: that every American would have access to physical and mental health care. President Bill Clinton wrote to us after Andy passed away, “While I know that no words can ease the pain of such a tragic loss, I hope you will take comfort in know- ing that millions of Americans are living longer, healthier, and more fulﬁlling lives because of Andy. I consider myself fortunate to have had him as a key member of the Department of Health and Human Services throughout all eight years of my administration. In addition to his service, I remain grateful for Andy’s role in my 1992 campaign. He was a true champion of the underserved, and his legacy will endure with all those whose lives he touched.” Andy was a loving son to Valerie and Allen, devoted brother to Joshua and Jon, and adoring father to Lily and Nathaniel. Andy is buried in the Stockbridge Cemetery. His grave marker contains the words, “Champion for Social Justice.” Stu Rosner

44 NOTES ON THE PROGRAM

Hector Berlioz (1803-1869) Overture to “Béatrice et Bénédict”

First performance of the opera: August 9, 1862, Baden-Baden, Berlioz cond. First BSO performances of the overture: December 1949, Richard Burgin cond. First Tanglewood performance of the overture: July 25, 1954, Charles Munch cond. Most recent Tanglewood performance of the overture: August 23, 2003, Sir Neville Marriner cond. Seiji Ozawa led performances of the complete opera with the BSO on two occasions: in concert at Symphony Hall and Carnegie Hall in October 1977, and in a Tanglewood semi-staging on August 4, 1984. By the last decade of his life, Berlioz was an embittered old man. He had fought French philistinism for years with energy and wit, but ﬁnally, in fail- ing health, he was disheartened by the long, frustrating effort to mount his great opera Les Troyens (The Trojans), which he was never to see in its entirety. One of the few bright spots in his life in the late 1850s was the few weeks he spent every summer at the resort of Baden-Baden, where the manager of the Casino, Edouard Bénazet, engaged him to conduct a gala concert under ideal circumstances at the height of the season, with an orchestra selected from the best players in Europe. Bénazet built a theater at the resort and commissioned Ber lioz to write the opera that would open it. It was to be his very last complete work, and the only opera that he had no trouble bringing to performance. Berlioz’s lifelong devotion to Shake- speare expressed itself in a comedy adapted from Much Ado About Nothing, with its

TANGLEWOOD WEEK 7 SUNDAY PROGRAM NOTES 45 wonderfully fresh and oblique view of love in a story of merry sparring partners in a battle of endless wit. Beatrice and Benedick (Shakespeare’s spelling) are tricked into falling in love. The overture to this lighthearted comedy, which concentrates almost totally on music associated with the title characters and omits the romantic and darker episodes, perfectly captures its mood of quicksilver brilliance. The composer’s own description is perhaps the best: “It is a caprice written with the point of a needle.”

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

George Tsontakis (b.1951) “Sonnets,” Tone Poems for English Horn and Orchestra First performance: February 11, 2016, Symphony Hall, Boston Symphony Orches- tra, Andris Nelsons cond., Robert Sheena, soloist. “Sonnets” was commissioned by the BSO through the generous support of Catherine and Paul Buttenwieser, and through the generous support of the New Works Fund established by the Massachu- setts Cultural Council, a state agency. This is the first Tanglewood performance. Born into a Cretan Greek family in Astoria, Queens, George Tsontakis had early training on violin and heard Greek traditional and popular music constantly; but being a New Yorker he was also fascinated by musical theater, especially Rodgers and Hammerstein. Listening to classical music on LPs had a big effect on his sensibilities as well: he recalls that encounters with recordings of Stra- vinsky’s Firebird and Beethoven’s String Quartet in F, Opus 135, in the same week essentially established the two poles of his aesthetics. After high school he attended Queens College, where he studied with Hugo Weisgall, then earned his doctorate at the Juilliard School working with Roger Sessions, and studied in Rome with Franco Donatoni. An accomplished conductor and educator, he is Distinguished Composer-in-Residence at Bard College and from 1975 through 2015 was on the faculty of the Aspen Music Festival, where he founded and directed the Aspen Contemporary Ensemble. Tsontakis’s music has been recognized with one of the most prestigious international awards, the Grawemeyer, for his Violin Concerto No. 2. He was also a recipient of the Berlin Prize, the Charles Ives Living award from the American Academy of Arts and Letters, and two Kennedy Center Awards, among others. He has worked extensively with the Albany Symphony Orchestra and has written for other orchestras and ensembles throughout the country. He has also been an important figure in the musical life of Greece, and in 1979 he took over the directorship of New York City’s Metropolitan Greek Chorale. George Tsontakis’s Sonnets is the end result of a several-year, on-and-off discussion about commissioning a solo showcase for BSO English horn Robert Sheena. Tson- takis was first approached with the idea of writing an English horn concerto in late 2014, with the suggestion that he link it somehow to the 400th anniversary of Shakespeare’s death in 2016. This resonated with Tsontakis, who has had a lifelong interest in theater and formal training in acting; he has even acted in several Shake- speare plays.

46 The BSO commission gave the composer free rein in the Shakespeare connection, but he realized he didn’t hear the English horn as a character in a play but rather as a muser, a contemplative, poetic soul. The sonnets were fresh in his mind since he had relatively recently read through most of the 154 poems in preparation for a project with the New York Virtuoso Singers. Together he and Robert Sheena chose the four poems that are the basis of the piece, Sheena deciding on the time-orient- ed Sonnet 12 for the second movement. The nature of these poems suggested the “Tone Poems” designation rather than “concerto,” with that genre’s implications of brilliance and virtuosity. Tsontakis and Robert Sheena worked together in honing the piece to exploit the English horn’s dusky timbre and character. The first movement of Sonnets, “When to the sessions of sweet silent thought” (Son- net 30), carries the expressive marking “Sospeso (like Lohengrin opening)/ethereal, creating large spaces.” The Lohengrin reference is to the opening of Wagner’s opera, a miracle of crystalline, transparent orchestration. As with that piece, rhythm here is at first ambiguous and amorphous, settling in somewhat after the soloist’s first phrase to a quiet pulsing. The soloist stays in the lower-middle range for the most part. Energy builds to a climax involving the entire orchestra, its sudden collapse leaving the soloist to suggest a few hesitant, tentative fragments. (“But while I think on thee, dear friend....”) A short coda recalls a passage near the beginning. The composer writes, “This sonnet is about a lost friend whose memory evokes sadness, but more so, a self-confidence. After I chose this, I thought of my teacher, Roger Ses- sions, as ‘the friend,’ whose memory has always lifted my spirits, and later, realized that his name is evoked in the first line!” Sonnet 12, “When I do count the clock that tells the time,” is marked “Meditative Eastern.” Tsontakis tells us it concerns “aging and the inevitable, fleeting quality of life as it fades.” The clock is represented by a ticking marimba at the start. The pulse is constant, but measures and phrases are asymmetrical in ways suggesting Middle Eastern or Persian music, and there are Persian touches to the melodic scale as well, with its augmented seconds. A “hugely dramatic” chord in the orchestra sends the soloist to a higher range; this is followed by a substantial darkening of the orchestral texture. Some instruments slip “out” of time, and the soloist, too, moves into a new independent tempo before returning eventually to the orchestral fold. The “rumi- nating” minor-second figure near the end foreshadows the fourth movement. Of Sonnet 60, “Like as the waves make towards the pebbled shore,” the composer remarks, “Really the only sonnet I found to warrant a mercurial movement, and William Mercer

TANGLEWOOD WEEK 7 SUNDAY PROGRAM NOTES 47 I. Sonnet 30

When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time’s waste: Then can I drown an eye, unused to flow, III. Sonnet 60 For precious friends hid in death’s dateless night, And weep afresh love’s long since cancell’d woe, Like as the waves make towards the pebbled shore, And moan the expense of many a vanish’d sight: So do our minutes hasten to their end; Then can I grieve at grievances foregone, Each changing place with that which goes before, And heavily from woe to woe tell o’er In sequent toil all forwards do contend. The sad account of fore-bemoaned moan, Nativity, once in the main of light, Which I new pay as if not paid before. Crawls to maturity, wherewith being crown’d, But if the while I think on thee, dear friend, Crooked elipses ’gainst his glory fight, All losses are restored and sorrows end. And Time that gave doth now his gift confound. Time doth transfix the flourish set on youth II. Sonnet 12 And delves the parallels in beauty’s brow, Feeds on the rarities of nature’s truth, When I do count the clock that tells the time, And nothing stands but for his scythe to mow: And see the brave day sunk in hideous night; And yet to times in hope my verse shall stand, When I behold the violet past prime, Praising thy worth, despite his cruel hand. And sable curls all silver’d o’er with white; When lofty trees I see barren of leaves IV. Sonnet 75 Which erst from heat did canopy the herd, And summer’s green all girded up in sheaves So are you to my thoughts as food to life, Borne on the bier with white and bristly beard, Or as sweet-season’d showers are to the ground; Then of thy beauty do I question make, And for the peace of you I hold such strife That thou among the wastes of time must go, As ‘twixt a miser and his wealth is found; Since sweets and beauties do themselves forsake Now proud as an enjoyer and anon And die as fast as they see others grow; Doubting the filching age will steal his treasure, And nothing ’gainst Time’s scythe can make defence Now counting best to be with you alone, Save breed, to brave him when he takes thee hence. Then better’d that the world may see my pleasure; Sometime all full with feasting on your sight And by and by clean starved for a look; Possessing or pursuing no delight, Save what is had or must from you be took. Thus do I pine and surfeit day by day, Or gluttoning on all, or all away. BSO Archives

48 in essence, I only set the opening two lines.” The movement is a kind of scherzo: the soloist takes off on a quick, long run of eighth-notes in complicated groupings, which are picked up in segments by the orchestra’s sections. A broad, majestic section for orchestra alone gives the low strings a healthy workout. Regarding Sonnet 75, “So you are to my thoughts as food to life,” the composer writes, “It must all end romantically, of course, and this is the only movement where the English horn actually ‘sings’ the sonnet, line for line—as if intoning the enam- ored words. The poet’s love is represented as an intimate half-step rumination ending each initial melodic phrase. But when the power of that same love twists grotesquely into the rage of human jealousy, that formerly caressing minor second is inverted to its wider and tension-ﬁlled and explosive major seventh. The poet’s initial intimate love returns in the calming, concluding couplet.” Sonnets, Tone Poems for English Horn and Orchestra, was premiered in February 2016 as part of a wide-ranging, three-week series of Shakespeare-themed BSO concerts led by Andris Nelsons.

ROBERT KIRZINGER Composer and annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

A Message from Robert Sheena I believe it’s very important to work with and encourage today’s composers because ultimately such support is critical to the sustenance and development of orchestral and chamber music art forms. To that end, I am honored to say that many distinguished composers have written pieces expressly for me, giving them the opportunity to expand the expressive range of possibilities of music for the English horn. Works written for or performed by me include Daniel Pinkham’s Odes (1998), Gabriel Gould’s Watercolors (1998), William Pfaff’s During Wind and Rain (2005), Marti Epstein’s Quartet (2007) and Bloom (2009), and now George Tsontakis’s Sonnets (2015). The idea of commissioning a new solo work for English horn and orchestra for me to perform with the BSO originated with our previous music director, James Levine. BSO Artistic Administrator Tony Fogg’s creativity tied the commission to the Shake- speare anniversary, and BSO Music Director Andris Nelsons happily committed to proceeding with the commission. Paul and Catherine Buttenwieser supported the project. To all of them and many others I owe my deepest gratitude. Few BSO members have a new work commissioned on their behalf. It is a singular honor and a thrill for me!

TANGLEWOOD WEEK 7 SUNDAY PROGRAM NOTES 49 Camille Saint-Saëns (1835-1921) Piano Concerto No. 5 in F, Opus 103, “Egyptian” First performance: June 2, 1896, Société des Concerts, Paris, Paul Taffanel cond., Saint- Saëns, soloist. First BSO performance: March 4, 1904, Wilhelm Gericke cond., Ferruccio Busoni, soloist. Only previous Tanglewood performance: August 5, 2012, Lorin Maazel cond., Jean-Yves Thibaudet, soloist. If Saint-Saëns had been just a pianist, he would have been as famous and as acclaimed as Anton Rubinstein, Leschetizky, Paderewski, or any other lion of the age. His piano concertos, all of which he played himself, provide scintillating evidence of his astonishing technique both in weight and nimbleness. Yet playing the piano was only one of many activities, not all of them concerned with music, that con- sumed him over a very long life. He was an immensely productive composer, of course, producing music “as an apple tree bears apples,” as he described it himself. No genre of music was untouched—operas, symphonies, concertos, chamber music, songs, choral music, all in abundance; even a film score, one of the first ever composed. For many years he was organist at the Madeleine church in Paris; he conducted frequently; he wrote articles for the press and published half a dozen books; he wrote poetry and plays; he took a close interest in astronomy, archaeology, philosophy, and classical literature; he spoke many languages and traveled all over Europe giving concerts, including a series of all the Mozart piano concertos in London; he went to Scandinavia, Russia, Indochina, and Uruguay; he was involved in the whole spectrum of music-making in France for all of his career, and he was a prime mover in the Société Nationale de Musique. His tastes ranged effortlessly from Wagner to the Baroque, and the composers he most admired were Mozart, Rameau, Gluck, Schumann, Berlioz, and Liszt. He was a modernist and a reactionary at the same time, an atheist who composed a huge quantity of religious music, a deeply serious and thoughtful composer whose best-known work is the frivolous Carnival of the Animals. Much of Saint-Saëns’s music remains today in obscurity, and there are few who would be bold enough to measure his achievement as a composer against Wagner or Verdi or Brahms. His works are appealing, superbly crafted, and full of surprises. Only at rare moments (as in the second act of his opera Samson et Dalila) does he shake the heavens. He is very French in his desire to impress his hearers with the delicacy and rightness of every movement, to display impeccable taste, and to paint always in sen- sitive colors. His piano writing bears the signature of a brilliant pianist, and it takes a player of special gifts to throw off those cascades of scales and arpeggios as though they were the easiest thing in the world—as for him they were. His first four piano concertos appeared at steady intervals between 1858 and 1875. The Second, which he composed in seventeen days, has remained his most popular concerto. After the age of forty he spent more and more time vacationing in North Africa, the outcome of which was the Suite algérienne for orchestra in 1880, a colorful work for piano and orchestra simply entitled Africa in 1891, and this Fifth Piano Concerto in 1896. Like the famous Bacchanale at the end of Samson et Dalila these all contain musical allusions to Moorish music in one form or another, although except in the case of Africa he was too much of a classicist ever to allow these elements to be more than glancing evocations of distant places. In January 1896 he went to Milan for the Italian premiere of his opera Henry VIII, and from there traveled on to Cairo for his customary winter vacation. He ventured up the Nile into Upper Egypt and then settled into a Cairo hotel to write the Fifth Piano Concerto. As usual the music flowed from his pen, and it took just over three

50 weeks to complete. His first ideas for the work had been noted down on a previous holiday two years before, when he went to the Canary Islands, but the main work was completed in Cairo in time to include the new concerto in a momentous concert in the Salle Pleyel, Paris, marking the fiftieth anniversary of his first appearance there in 1846 at the age of ten. This took place on June 2, 1896, with the great violinist Sarasate, a close friend, sharing the bill. The concerto was published the same year with a dedication to Louis Diémer, a fine pianist who played it many times. Saint-Saëns continued to play it himself even past his eightieth birthday. There is nothing Egyptian about the concerto except in the second movement. The outer movements are perfectly European and, one might say, classical in their balance of themes and tempos. The opening theme in the first movement has an affinity with plainchant, like many of Saint-Saëns’s tunes, and the second main tune recalls Brahms in its broad sweep. The finale is a brilliant tour de force that actually exhibits little force. Its magic lies rather in its fleetness and ingenuity, and it keeps the soloist scampering from one end of the keyboard to the other. The most remarkable music is to be found in the middle movement, which is unlike anything by Saint-Saëns or anyone else. It is not simply that most of the themes have a Middle Eastern character, based on modal intervals; it proceeds strangely from one episode to another without any apparent direction, like an improvisation, although the balance of the movement is cleverly controlled. One theme that is said to have a Nubian origin in fact sounds more northern, and has no Arabic intervals at all. Two curious passages stand out. In one, the left hand plays a series of notes that are colored by the right hand with soft chords that give it the sound of an organ mix- ture stop, a device later used by Ravel in his Bolero. The other is a strange chirruping in the distant key of F-sharp major, beneath which a Chinese melody is heard against soft blows on the tam-tam. Was Saint-Saëns recalling other journeys to distant parts, or just being playful?

HUGH MACDONALD Hugh Macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich and is currently writing a book on the operas of Saint-Saëns. Stu Rosner

TANGLEWOOD WEEK 7 SUNDAY PROGRAM NOTES 51 Sergei Prokoﬁev (1891-1953) Music from the ballet “Romeo and Juliet”

Stage premiere of the ballet: December 30, 1938, Brno, Czechoslovakia (the Russian premiere following only on January 11, 1940, Kirov Theatre, Leningrad). First BSO performances (and first U.S. performances) of music from the ballet: March 1938, Prokofiev cond. First Tanglewood performance of music from the ballet: August 7, 1948, Serge Kousse- vitzky cond. Most recent Tanglewood performance of music from the ballet: July 30, 2010, Charles Dutoit cond. The plays of William Shakespeare—especially the tragedies—have long been popular in Russia. Among their admirers have been numerous composers. Romeo and Juliet inspired both Tchaikovsky (in his Fantasy-Overture) and Sergei Prokofiev (in his full-length ballet), while Soviet composer Dmitri Shostakovich turned repeatedly to Hamlet and King Lear, producing incidental music for several stage productions and scores for Grigori Kozintsev’s classic film versions. Prokofiev, too, found frequent inspiration in Shakespeare. In 1933-34 he produced incidental music for a production called “Egyptian Nights,” a strange potpourri based on Antony and Cleopatra staged by experimental director Alexander Tairov at his Moscow Chamber Theater. Later, in 1937- 38, he wrote incidental music for a celebrated and controversial Leningrad production of Hamlet, whose theme of guilt and regicide resonated deeply with Soviet audiences living through Stalin’s purges. The idea of creating a ballet out of Romeo and Juliet originally came from the Soviet stage director Sergei Radlov (1892-1958), an important figure in the Russian theatrical avant-garde both before and after the 1917 Revo lution. Radlov was also very familiar with Prokofiev’s music, since he had staged the first Russian production of Prokofiev’s opera Love for Three Oranges in 1926 in Lenin grad. Noted for his adventurous productions of contemporary opera, Radlov directed the Russian premiere of Berg’s Wozzeck at the Mariinsky Theatre, where he served as artistic director from 1931 to 1934. He also staged several plays of Shake speare at his own dramatic theater in the early 1930s, including Romeo and Juliet in 1934. Originally, Radlov and Prokofiev were planning to stage Romeo and Juliet at the Mariinsky (later known as the Kirov Theatre). But in one of the many political storms that beset the theater during the Soviet era, Radlov lost his position there in the aftermath of the assassination of the Leningrad Communist Party boss Sergei Kirov in December 1934. Still continuing to work with Radlov as librettist, Prokofiev signed a new contract (also later broken) for the ballet with the Bolshoi Theatre in Moscow. At the time, Prokofiev was living a peripatetic and nomadic life, commuting between Paris (where his wife and two sons still lived) and Russia, with frequent trips to the United States. Only in early 1936 did he make the fatal decision to settle his family permanently in an apartment in Moscow. Preparing for this final move back to his homeland, Prokofiev spent the spring, summer, and early fall of 1935 in the USSR. Despite the increasingly repressive political and ideological atmosphere to which he seems to have paid remarkably little atten- tion, this was a period of apparently happy productivity, his chief project being Romeo and Juliet. In fact Prokofiev worked with incredible speed, as he did when gen- uinely in spired. Act II was completed on July 22, 1935, Act III on August 29, and the entire piano score by September 8, after less than five months of work. In October he began the orchestration, working at top speed, producing the equivalent of about twenty pages of full score each day. But the planned Bolshoi production failed to take place, and no other theater came forth to take on the project.

52 Frustrated, Prokofiev created two or ches tral suites from the ballet’s music in late 1936. These were performed soon afterwards in Russia, representing one of the few instances in dance history when a ballet’s music was heard in concert form before being staged. The stage premiere of the full-length ballet eventually took place not in Russia, but in Brno, Czechoslovakia, with choreography by Ivo Psota, who also danced the role of Romeo. The first Russian production at the Kirov Theatre in Leningrad was choreographed by Leonid Lavrovsky. Galina Ulanova scored one of her greatest successes in the role of Juliet. The story line of the Kirov version had been stitched together by four authors: Radlov, Prokofiev, Lavrovsky, and critic/ playwright Adrian Piotrovsky. Not surprisingly, the repeated revision of the scenario produced what critic Arlene Croce has called a “dramaturgical nightmare.” The original scenario (later altered) changed the play’s ending to a happy one. Rad- lov and Prokofiev had Romeo arrive later than in Shakespeare, finding Juliet alive. “The reasons that led us to such a barbarism were purely choregraphic,” Proko fiev explained later. “Living people can dance, but the dead cannot dance lying down.” Another factor was certainly the Soviet doctrine of Socialist Realism, which urged composers to provide optimistic, uplifting endings to their operas and ballets. In

TANGLEWOOD WEEK 7 SUNDAY PROGRAM NOTES 53 the end, Prokofiev and his collaborators restored the original tragic ending, which turned out to be spectacularly effective both choreographically and musically. Each of the two orchestral suites Prokofiev arranged in 1936 from the music for Romeo and Juliet has seven titled sections. Suite No. 1 (Opus 64-bis) focuses on re- arranged genre episodes from Acts I and II and does not attempt to follow the dramatic action. Four of its sections are dance intermezzi and only two (“Madrigal” and “Romeo and Juliet”) make use of the major dramatic leitmotifs. Suite No. 2 (Opus 64-ter), on the other hand, possesses a more logical narrative structure that follows the play’s plot. Romeo represents a giant step forward in Prokofiev’s evolution as a ballet composer. It is a remarkable synthesis of the five “lines” of his musical personality, as he once de scribed them: classical, modern, toccata (or motor), lyrical, and grotesque. His aggressive “Scythianism” found brilliant expression in the violent hostility between the Montagues and Capulets, and in the brutal darkness of the unenlightened medieval setting. His “classicism” found an outlet in the courtly dances required of an artistocratic setting, such as gavottes and minuets. Entirely appropriate for some of the character roles, such as the Nurse, was Prokofiev’s famous satirical style, while his scherzo style suited volatile characters like Mercutio. And finally, Proko fiev’s lyr- icism, an increasingly important part of his artistic personality since the late 1920s and now reinforced by the Soviet musical environment (which prized melody and accessibility above all else), was both necessary and particularly successful in con- veying the innocent passion between the lovers that lies at the center of the drama. Romeo is Prokofiev’s first completely successful lyrical stage work, and his first con- vincing portrayal of non-ironic romantic love.

HARLOW ROBINSON Harlow Robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. The author of Sergei Prokoﬁev: A Biography and Russians in Hollywood, Hollywood’s Russians, he is a frequent lecturer and annotator for the Boston Symphony Orchestra, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival.

Solo Artists Robert Sheena Robert Sheena has been the English horn player of the Boston Symphony Orchestra and the Boston Pops Orchestra since 1994, during which time his uniquely vocal style of playing has garnered accolades from audience members and the media alike. In his more than twenty years as a member of the BSO, Mr. Sheena has performed as soloist with the orchestra on several occasions, most notably in the world premiere performances of George Tsontakis’s Sonnets this past Feb- ruary at Symphony Hall with Andris Nelsons conducting, and prior to that in performances at Tanglewood of André Previn’s Reﬂections and Aaron Copland’s Quiet City. He will perform Quiet City here again this summer, on the ﬁnal BSO concert of the season, preceding Beethoven’s Ninth Symphony. With the Bos- ton Pops Orchestra he has been featured at Symphony Hall in Quiet City and Michael Daugherty’s Spaghetti Western. From 1987 to 1991 Mr. Sheena was the assistant principal oboe and English horn of the Hong Kong Philharmonic. Since then he has made numerous trips to perform in Asia, not only with the BSO, but also to

54 perform in Japan as a guest English hornist with the Super World Orchestra (2001), Afﬁnis Music Festival (2009), and Seiji Ozawa’s Saito Kinen Orchestra (2014). From 1991 until joining the BSO he was assistant principal oboe and English horn with the San Antonio Symphony. From 1984 to 1987 he was a freelance oboist in the Chicago area, playing in the Civic Orchestra of Chicago and frequently as a substitute oboist with the Chicago Symphony Orchestra. Mr. Sheena is an instructor of both the oboe and the English horn at Boston University’s School of Music and Tanglewood Insti- tute, at the Boston Conservatory, and at the Longy School of Music of Bard College. An alumnus of the Tanglewood Music Center, he works with the fellowship oboists there every summer, coaching them in chamber music and giving English horn master classes. Mr. Sheena occupies the Beranek Chair in the woodwind section of the Boston Symphony Orchestra.

Dejan Lazić Dejan Lazić’s fresh interpretations of the piano repertoire have established him as one of the most distinctive and unusual soloists of his generation. Making his Boston Sym- phony Orchestra and Tanglewood debuts with this concert, Mr. Lazić appears with such orchestras as the City of Birmingham Symphony Orchestra, NDR Sinfonieorchester Hamburg, Netherlands Philharmonic, Rotterdam Philhar- monic, Budapest Festival Orchestra, and Helsinki Philharmonic, as well as the Swedish Radio, Danish National, Chicago, and Atlanta symphony orchestras, and the Australian, Netherlands, and Basel chamber orchestras. He enjoys a significant following in the Far East, where he appears with the NHK Sympho- ny, Yomiuri Nippon, Sapporo Symphony, Seoul Philharmonic, and Hong Kong Philharmonic, among others. He has built close collaborations with some of today’s most sought-after conductors, including Giovanni Antonini, Lionel Brin- guier, Iván Fischer, Andris Nelsons, Vasily Petrenko, Robert Spano, John Storgårds, Krzysztof Urbanski, and Osmo Vänskä. This week brings his debut with the Boston Symphony Orchestra at Tanglewood, under Andris Nelsons. In 2016-17 he returns to the Trondheim Symphony, Indianapolis Symphony, Helsingborgs Symphoniorkester, and Konzerthausorchester Berlin with Iván Fischer, and tours with the Budapest Festi- val Orchestra, also under Fischer. With Channel Classics Mr. Lazić has released a dozen recordings, including his critically acclaimed Liaisons series, the latest of which pairs C.P.E. Bach and Britten. His live recording of Rachmaninoff’s Piano Concerto No. 2 with the London Philharmonic under Kirill Petrenko received the prestigious German Echo Klassik Award. A recording of the Beethoven Triple Concerto was also released to critical acclaim (Sony Music). Scheduled for release in spring 2017 is a solo recital disc of works by Franz Liszt for Onyx Classics. As a recital artist, Mr. Lazić appears at such venues as London’s Wigmore Hall, Teatro Colón Buenos Aires, and Melbourne Recital Centre. His compositions are receiving increased recognition, and he was recently signed as a composer by Sikorski Music Publishing Group. His arrangement of Brahms’s Violin Concerto as a piano concerto was premiered with the Atlanta Sym- phony Orchestra in 2009 and has since received successful performances at the BBC Proms, Concertgebouw Amsterdam, Hamburg Easter Festival, Chopin Festival Warsaw, as well as in North America, South America, and Japan. Mr. Lazić has performed his Piano Concerto in Istrian Style several times since its premiere in 2014. He will have his first orchestral work, a tone poem entitled Mozart and Salieri, premiered by the India- napolis Symphony and Krzysztof Urbanski in spring 2017. Born into a musical family in Zagreb, Croatia, and now living in Amsterdam, Dejan Lazić grew up in Salzburg, Austria, where he studied at the Mozarteum.

TANGLEWOOD WEEK 7 SOLO ARTISTS 55 Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops, and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

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

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

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

Koussevitzky Society Virtuoso $50,000 and above

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

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

Phyllis and Paul Berz • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Carol B. Grossman • The Edward Handelman Fund • Carol and George Jacobstein • Leslie and Stephen Jerome • Mr. Bruce Norman Klingbeil • Mr. and Mrs. Henry A. Leander • 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 • Marillyn Zacharis

56 Patron $10,000 to $19,999

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

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

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

TANGLEWOOD WEEK 7 SOCIETY GIVING AT TANGLEWOOD 57 Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mrs. Barbara C. Haynes • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles ‡ Hoffman • Nancy and Walter Howell • Dr. and Mrs. Richard M. Hunt • Marty and Judy Isserlis • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Shulamit ‡ and Chaim Katzman • Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Ira Levy, Lana Masor and Juliette Freedman • Marje Lieberman and Sam Seager • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • 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 • Ms. Selma Rothstein • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. and Mrs. John Schwebel • Mr. Marvin Seline • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Dorothy and Gerry Swimmer • Jean C. Tempel • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Mr. and Mrs. Bernard Wolfson • Mr. and Mrs. Allan Yarkin • Erika and Eugene ‡ Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3) Bernstein Society $3,000 to $4,999

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

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

TANGLEWOOD WEEK 7 SOCIETY GIVING AT TANGLEWOOD 59 The Walter Piston Society The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer, at (617) 638-9274 or [email protected]. ‡ This symbol denotes a deceased donor.

Everett L. Jassy, Co-chair, Planned Giving Committee Richard P. Morse, Co-chair, Planned Giving Committee Peter C. Read, Co-chair, Planned Giving Committee

Mark and Stephanie Abrams • Sonia S. Abrams • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Ms. Nancy Amstutz • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David ‡ Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Henry W. D. Bain • Mr. Sherwood E. Bain • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Stephen Barrow and Janis Manley • Rose Basile • John and Molly Beard • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek • Deborah Davis Berman • George and Joan Berman • Roz and Wally Bernheimer • Leonard and Jane Bernstein • Roberta Berry • Mr. Roger Berube • Mrs. Ben Beyea • Mrs. Philip W. Bianchi • Mr. Peter M. Black ‡ • Mrs. Stanton L. Black • Joan T. Bok • Mr. Carl G. Bottcher • Mrs. John M. Bradley ‡ • Carol and Bob Braun • Karen M. Braun • Jan Brett and Joseph Hearne • William E. Briggs • Peter and Anne Brooke • Phyllis Brooks • Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Bonnie and Terry Burman • Mr. Richard-Scott S. Burow ‡ • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Edwin and Myrtle Cox • Ann Denburg Cummis • Joan P. and Ronald C. Curhan • William D. Curtis • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Eda Daniel • Peggy Daniel • Eugene M. Darling, Jr. • Mr. Nelson J. Darling, Jr. • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Richard Dixon and Douglas Rendell • Dr. Ruth Dlugi-Zamenhof and Dr. Robert Zamenhof • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian ‡ • Joanne and Jerry Dreher • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Mrs. Richard S. Emmet • Lillian K. Etmekjian • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg ‡ • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • Elio Ruth Fine ‡ • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • David D. Foster • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Ray Goldberg • Mr. Mark R. Goldweitz • Midge Golin • Hon. José A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Edmund A. Grossman • Hope and Warren ‡ Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Ira Haupt, II • Deborah Hauser • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Mr. and Mrs. ‡ Richard B. Hirsch • Joan and Peter Hoffman • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Timothy P. Horne •

60 Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Charles and Carolyn Jack • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mrs. H.E. Jones • Ron and Joyce Jones • Richard Michael Kagan • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Mr. Robert Kirzinger • Ms. Marsha A. Klein • Mason J. O. Klinck • Kathleen Knudsen • Joan H. Kopperl • Mr. Robert K. Kraft • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld ‡ • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis ‡ • Toby Levine • Jeffrey and Della Levy • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mrs. David McKearnan • Mrs. Willard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Joel Robert Melamed MD • Karen Metcalf • Edie Michelson Milender and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Richard S. Milstein, Esq. • Dale and Robert Mnookin • Patricia A. Monk • Joan G. Monts • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard ‡ • Katharine S. Nash • Chloe Nassau • Robert Neff • Anne J. Neilson • Ms. Diana Nelson • Mary S. Newman ‡ • Michael L. Nieland, M.D. • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Helene and Martin Oppenheimer • Annette and Vincent O’Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Dr. Jack S. Parker • Joyce and Bruce Pastor • Nancy and Robert Payne • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins • Polly Perry • Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Wendy Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Mrs. Murray Preisler • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • John Sherburne Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • John J. and Emily M. Reynolds • Dr. Paul A. Richer • Barbara Rimbach • Wendy H. Robbins • Elizabeth P. Roberts • Mr. David Rockefeller, Jr. • Fran and Liz Rogers • Dr. J. Myron Rosen • Mr. James L. Roth • Pauline A. Rowe • Wallace and Carol Rowe • Arnold Roy • Joan and Michael Salke • John A., Helen M., ‡ and John W. Salkowski • Mr. Robert M. Sanders • Mr. Stephen Santis • The Sattley Family • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Arlene and Donald Shapiro • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Natalie K. Slater • Drs. Norman Solomon and Merwin Geffen • Harold Sparr ‡ and Suzanne Abramsky • Mrs. George R. Sprague • Maria and Ray Stata • Mr. and Mrs. Joseph Stavenhagen • Mr. and Mrs. Nick Stcavish • Lewis and Margery Steinberg • Thomas G. Stemberg ‡ • Susan Stempleski • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Anne B. and Galen L. Stone • Lillian C. Stone • Theresa M. and Charles F. Stone III • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi ‡ • Diana O. Tottenham • Daniel Vincent and Stephen Borboroglu • Robert Volante • Mark and Martha Volpe • Eileen and Michael Walker • Carol A. Walker • Harvey and Joëlle Wartosky • Stephen and Dorothy Weber • Allen C. West • Ron and Sandy Weston • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Richard E. Willett • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson ‡ • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Donald G. and Jane C. Workman • Robert W. and Sheri Olans Wright • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal Zimmerman and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (77)

TANGLEWOOD WEEK 7 THE WALTER PISTON SOCIETY 61

Tanglewood Major Corporate Sponsors 2016 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].

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

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.

TANGLEWOOD WEEK 7 MAJOR CORPORATE SPONSORS 63 A page from the 1937 program book for the Boston Symphony Orchestra’s ﬁrst Tanglewood concerts (BSO Archives)

August at Tanglewood

Tuesday, August 2, 8pm (Gala Concert) Monday, August 8, 8pm, Ozawa Hall Tanglewood on Parade TMC ORCHESTRA—TMC Fellows NUNO (Grounds open at 2pm for music and COELHO and CHRISTIAN REIF, conductors activities throughout the afternoon) TMC VOCAL FELLOWS BSO, BOSTON POPS ORCHESTRA, and DAWN UPSHAW, soprano TMC ORCHESTRA SANFORD SYLVAN, baritone STEFAN ASBURY, STÉPHANE DENÈVE, NICHOLAS MUNI, stage director GIANCARLO GUERRERO, KEN-DAVID Music of Weill and Shostakovich MASUR, and JOHN WILLIAMS, conductors ELIZABETH ROWE, flute Wednesday, August 10, 8pm JESSICA ZHOU, harp BOSTON SYMPHONY CHAMBER PLAYERS Music of Gandolfi, Mozart, Ravel, Williams, JEREMY FLOWER, electronics and piano and Tchaikovsky Music of Flower, Françaix, Beethoven, and Fireworks to follow the concert Spohr

Wednesday, August 3, 8pm Friday, August 12, 6pm (Prelude Concert) NELSON FREIRE, piano MEMBERS OF THE BSO Music of Bach, Beethoven, Shostakovich, with JONATHAN BASS, piano Rachmaninoff, and Chopin Friday, August 12, 8pm Thursday, August 4, 8pm BSO—CHARLES DUTOIT, conductor DANIIL TRIFONOV, piano EMANUEL AX, piano Music of Bach, Liszt, and Rachmaninoff NICOLAI Overture to The Merry Wives of Friday, August 5, 6pm (Prelude Concert) Windsor; MOZART Piano Concerto No. 22 in E-flat, K.482; DEBUSSY La Mer; RAVEL Boléro MEMBERS OF THE BSO Saturday, August 13, 10:30am Friday, August 5, 8pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—GIANCARLO GUERRERO, conductor BSO program of Sunday, August 14 YEFIM BRONFMAN, piano DVORÁKˇ Serenade in D minor for Winds Saturday, August 13, 8pm LISZT Piano Concerto No. 2 John Williams’ Film Night MAHLER (arr. BRITTEN) What the Wild BOSTON POPS ORCHESTRA Flowers Tell Me; BRAHMS Serenade No. 2 JOHN WILLIAMS and RICHARD KAUFMAN, conductors Saturday, August 6, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Sunday, August 14, 2:30pm BSO program of Sunday, August 7 The Serge and Olga Koussevitzky Memorial Concert Saturday, August 6, 8pm BSO—DAVID AFKHAM, conductor BSO—GIANCARLO GUERRERO, conductor IGOR LEVIT, piano DANIIL TRIFONOV, piano BEETHOVEN Coriolan Overture; Piano ADAMS Harmonielehre Concerto No. 3; SCHUMANN Symphony No. 4 CHOPIN Piano Concerto No. 2 STRAUSS Till Eulenspiegel’s Merry Pranks Sunday, August 14, 8pm AUSTRALIAN CHAMBER ORCHESTRA Sunday, August 7, 2:30pm RICHARD TOGNETTI, director and violin BSO—MORITZ GNANN, conductor BARRY HUMPHRIES, conférencier NELSON FREIRE, piano MEOW MEOW, cabaret artist MOZART Piano Concerto No. 9 in E-flat, RODNEY FISHER, director K.271; MAHLER Symphony No. 1 “Barry Humphries’ Weimar Cabaret”

Sunday, August 7, 8pm Monday, August 15, 8pm SILK ROAD ENSEMBLE TMC ORCHESTRA—CHARLES DUTOIT, with YO-YO MA conductor GIL SHAHAM, violin Music of Kodály, Tchaikovsky, and Stravinsky

Wednesday, August 17, 8pm, Ozawa Hall Wednesday, August 24, 8pm GIL SHAHAM, violin JEREMY DENK, piano BACH Sonatas and Partitas for solo violin “From Medieval to Modern”

Thursday, August 18, 8pm, Ozawa Hall Thursday, August 25, 7:30pm CHARLES DUTOIT, conductor PHILHARMONIA BAROQUE ORCHESTRA CHANTAL JUILLET, violin NICHOLAS MCGEGAN, conductor MEMBERS OF THE BSO SUZANA OGRAJENŠEK, DIANA MOORE, “Charles Dutoit and Friends” CLINT VAN DER LINDE, NICHOLAS PHAN, All-Stravinsky program (Octet; The Soldier’s and DOUGLAS WILLIAMS, vocal soloists Tale, staged, with actors and dancer) MEMBERS OF THE PHILHARMONIA CHORALE Friday, August 19, 6pm (Prelude Concert) SCARLATTI La gloria di primavera MEMBERS OF THE BSO Sung in Italian with English supertitles DEJAN LAZIC,´ piano Messiaen’s Quartet for the End of Time Friday, August 26, 6pm (Prelude Concert) TANGLEWOOD FESTIVAL CHORUS Friday, August 19, 8pm JAMES BURTON, guest chorus conductor BSO—CHARLES DUTOIT, conductor A program of Shakespeare settings MENAHEM PRESSLER, piano SIMONA SATUROVA, MARIANNA Friday, August 26, 8pm PIZZOLATO, MATTHEW POLENZANI, and BOSTON POPS ORCHESTRA RICCARDO ZANELLATO, vocal soloists KEITH LOCKHART, conductor TANGLEWOOD FESTIVAL CHORUS Raiders of the Lost Ark with Orchestra MOZART Overture to The Marriage of Figaro; Piano Concerto No. 23 in A, K.488 Saturday, August 27, 10:30am ROSSINI Stabat Mater Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 28 Saturday, August 20, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 27, 8pm, Shed BSO program of Sunday, August 21 BSO—MICHAEL STERN, conductor YO-YO MA, cello Saturday, August 20, 8pm BERNSTEIN Symphonic Suite from On the BSO—ANDRIS NELSONS, conductor Waterfront; HAYDN Cello Concerto No. 1 in C KRISTINE OPOLAIS, VIOLETA URMANA, WILLIAMS Heartwood, for cello and orchestra; ANDREA CARÈ, ALFRED NIGRO, MORRIS Rosewood and Pickin’ for solo cello ROBINSON, and KWANGCHUL YOUN, RESPIGHI Pines of Rome vocal soloists TANGLEWOOD FESTIVAL CHORUS Sunday, August 28, 2:30pm, Shed VERDI Aida, Acts I and II BSO—CHRISTOPH VON DOHNÁNYI, Sung in Italian with English supertitles conductor RACHEL WILLIS-SØRENSEN, RUXANDRA Sunday, August 21, 2:30pm DONOSE, JOSEPH KAISER, and GÜNTHER BSO—ANDRIS NELSONS, conductor GROISSBÖCK, vocal soloists ROBERT SHEENA, English horn TANGLEWOOD FESTIVAL CHORUS ´ DEJAN LAZIC, piano BEETHOVEN Symphony No. 9 BERLIOZ Overture to Béatrice et Bénédict TSONTAKIS Sonnets, Tone Poems for English Thursday, September 1, 8pm horn and Orchestra “WAIT WAIT…DON’T TELL ME!” SAINT-SAËNS Piano Concerto No. 5, Egyptian PROKOFIEV Suite from Romeo and Juliet Friday, September 2, 8pm BOSTON POPS ESPLANADE ORCHESTRA Tuesday, August 23, 7pm KEITH LOCKHART, conductor Popular Artists Series Special Guest THE B-52s TRAIN with ANDY GRAMMER Saturday, September 3, 8pm, Shed BOSTON POPS SWING ORCHESTRA KEITH LOCKHART, conductor “Dancing Under the Stars”

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

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

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

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

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

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

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

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

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

VOCAL PROGRAMS: Tuesday, August 2, 4pm (Tanglewood on Parade), Katie Woolf conducts choral works by Bernstein, Dello Joio, Haydn, O’Regan, and Verdi.

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

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

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

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

One Million

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

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

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

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

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

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

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Greenfeld • Hill Realty, LLC • LD Builders • MacCaro Real Estate • McLean & Mclean Realtors, Inc. • The Barb Osborne Team • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Port Asylum • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Teton Management Company • Lance Vermeulen Real Estate • Julie Weiss, Cohen + White • Tucker Welch Properties Resort/Spa Canyon Ranch in Lenox • Cranwell Spa and Golf Resort • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Barrington Brewery & Restaurant • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • Cranwell Spa and Golf Resort • Electra’s Café • Firefly Gastro Pub & Catering Co • Flavours of Malaysia • Frankie’s Ristorante • Haven Cafe & Bakery • John Andrews • Mad Jacks BBQ • Mazzeo’s Ristorante • Methuselah Bar & Lounge • No. Six Depot Roastery and Café • The Olde Heritage Tavern • Panda House Restaurant • Papa John’s • Pleasant and Main Café & General Store • Rouge Restaurant & Bistro • Rubi’s Coffee & Sandwiches • Table Six Restaurant Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • Casablanca • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires A 21st Century Marketplace • GB9 • The Gifted Child • Glad Rags • J. McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Big Y Supermarkets, Inc. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars • Rubiner’s Cheesemongers & Grocers • The Scoop/Blondie’s Homemade • Stop & Shop Supermarkets Retail: Home & Lifestyle Berkshire Home Design • Country Curtains • Design Menagerie • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Willowbrook Home Retail: Jewelry Laurie Donovan Designs Retail: Wine/Liquor Goshen Wine & Spirits, Inc • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • SPIRITED Salon Peter Alvarez Salon • Lotus Salon & Spa • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Gennari Plumbing & Heating • Pignatelli Electric • Michael Renzi Painting Co. LLC • Tune Street Transportation/Travel Abbott’s Limousine & Livery Service, Inc. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • Myriad Productions Yoga/Wellness/Health Berkshire Training Station • Dharma Coach • Eastover Estate and Retreat • Kripalu Center for Yoga & Health

Administration

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

Administrative Staff/Artistic

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

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

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

Business Office

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

Development

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

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

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

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

Human Resources

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

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

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

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

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

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

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

Koussevitzky Music Shed

Seiji Ozawa Hall