Week 12 2016–17 Season Prokofiev Weinberg Tchaikovsky

Home , Baiba Skride, Betrothal in a Monastery, Carl Schoenhof, Danel Quartet, Emil Paur, Igor Markevitch

2016–17 season andris nelsons music director

week 12 prokofiev weinberg tchaikovsky

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Robert McCloskey, Drawing for Make Way for Ducklings (“There they “Make Way for Ducklings: The Art of Robert McCloskey” is organized by With support from the Jean S. and Frederic A. Sharf waded ashore and waddled along till they came to the highway.”), The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts. Exhibition Fund and the Patricia B. Jacoby Exhibition Fund. 1941. Graphite on paper. Courtesy of The May Massee Collection, Emporia The Museum of Fine Arts, Boston, Media sponsor is State University Special Collections and Archives, Emporia State University. presentation is made possible by Table of Contents | Week 12

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 23 a case for quality by gerald elias 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 Sergei Prokofiev 41 Mieczys´law Weinberg 49 Pyotr Ilyich Tchaikovsky 57 To Read and Hear More…

Guest Artists

63 Juanjo Mena 65 Gidon Kremer

7 0 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on january 20 is given by harlow robinson of northeastern university.

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 12 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

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

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

† Deceased

week 12 trustees and overseers 5 OYSTER PERPETUAL DATEJUST 36

rolex oyster perpetual and datejust are ® trademarks. BSO News

Two 2017 Grammy Nominations for Andris Nelsons and the Boston Symphony Orchestra Last summer’s release in the BSO’s continuing Shostakovich series “Shostakovich Under Stalin’s Shadow,” on Deutsche Grammophon—a two-disc set with Andris Nelsons leading the BSO in live Symphony Hall performances of Shostakovich’s symphonies 5, 8, and 9 plus selections from his incidental music to Hamlet—has received two Grammy nominations, in the categories of Best Orchestral Performance and Best Engineered Album, Clas- sical. The 2017 Grammy Awards ceremony is scheduled for February 12 in Los Angeles. Coming up next in the series “Shostakovich Under Stalin’s Shadow” and due for release this summer is a two-disc set of the symphonies 6 and 7 (Leningrad) plus selections from the composer’s incidental music to King Lear, all to be taken from the current season’s upcoming BSO performances of those works.

Boston Symphony Chamber Players, Sunday, January 22, at 3 p.m. at Jordan Hall The second concert of the Boston Symphony Chamber Players’ 2016-17 four-concert series at Jordan Hall at New England Conservatory takes place on Sunday, January 22, at 3 p.m. Guest pianist Randall Hodgkinson joins the Chamber Players for this program, which includes Taffanel’s Wind Quintet in G minor; Saint-Saëns’s Septet in E-flat for piano, trumpet, and strings, Opus 65; Eric Tanguy’s Afterwards, for flute and piano, and Françaix’s Octet for winds and strings. For single tickets at $38, $29, and $22, visit the Symphony Hall box office or bso.org, or call SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at the Jordan Hall box office.

“Do You Hear What I Hear?” Thursday, January 26, at 6 p.m. in Williams Hall at New England Conservatory A collaboration between the Boston Symphony Orchestra and New England Conserva- tory, “Do You Hear What I Hear?” offers a series of free hour-long events that introduce audiences to composers working with the BSO, via composer-curated chamber music programs performed by NEC students, with coaching by NEC faculty and the composers themselves. Moderated by BSO Assistant Artistic Administrator Eric Valliere, with pianist Stephen Drury as musical consultant, the second of this season’s three sessions—to include music of Julian Anderson, Schubert, and Ravel on Thursday, January 26, at 6 p.m. in NEC’s Williams Hall—features a discussion with composer Julian Anderson, whose Incantesimi receives its American premiere with the BSO at 8 p.m. that same evening. The season’s third and final session of “Do You Hear What I Hear?” is scheduled for

week 12 bso news 7 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . Thursday, February 23, at 6 p.m. in NEC’s Brown Hall, with composer Sofia Gubaidulina, whose Triple Concerto for violin, cello, and bayan receives its world premiere on that evening’s BSO concert.

Free Northeastern University Fenway Center Concerts and Community Chamber Concerts Featuring BSO Musicians The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free Friday-afternoon concerts by BSO members at the Fen- way Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. starting this season with two concerts in February. BSO string players Valeria Vilker Kuchment, Glen Cherry, Danny Kim, and Adam Esbensen perform music of Ravel and Borodin on February 3 (a program also to be performed in the BSO’s Community Chamber Concert of Sunday, February 5, at 3 p.m. at the Saltonstall School in Salem); and BSO flutist Clint Foreman and string players Lucia Lin, Bracha Malkin, Rebecca Gitter, and Owen Young perform music of Arthur Foote, Florence Price, Ginastera, and Ravel on February 10 (a program to be repeated in the Community Chamber Concert of Sunday, February 12, at 3 p.m. at the Huntington YMCA in Boston). Tickets for the Friday-afternoon Fenway Center concerts on February 3 and 10 are available at tickets.neu.edu and at the door. For more information about the Fenway Center concerts, please visit northeastern.edu/camd/ music. Admission to the Sunday-afternoon Community Chamber Concerts on February 5 and 12 is also free, but reservations are required; please call 1-888-266-1200. For complete Community Chamber Concert details, please visit bso.org and go to “Education & Community” on the home page.

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com Charles Munch’s Complete BSO Recordings For RCA Reissued in 86-CD Box Set Recently issued on the RCA Red Seal label by Sony Classical, “Charles Munch/Boston Symphony Orchestra/The Complete RCA Album Collection” brings together on 86 CDs every recording made by Charles Munch with the BSO during his tenure as the BSO’s music director from 1949 to 1962, as well as a number of recordings Munch made for Columbia with the New York Philharmonic between 1947 and 1949 and with the Phila- delphia Orchestra in 1963—all encompassing music by more than forty composers spanning two centuries. The lavishly illustrated booklet includes notes by D. Kern Holoman, author of the biography Charles Munch (Oxford University Press, 2012); recording and release dates for all of the musical selections, as well as the original catalog numbers; and reproductions of the original LP album covers, which also appear on the individual CD envelopes, along with the original liner notes. “Charles Munch/The Boston Symphony Orchestra/The Complete RCA Album Collection” is available at the Symphony Shop and online at bso.org.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on January 20 is given by Harlow Robinson of Northeastern University. Friday Previews in the weeks ahead will be given by Robert Kirzinger on January 27 and author/composer Jan Swafford on February 17. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Broadcasts on WCRB Bramwell Tovey (encore January 23); music BSO concerts are heard on the radio at of Prokofiev, Weinberg, and Tchaikovsky 99.5 WCRB. Saturday-night concerts are with conductor Juanjo Mena and violinist broadcast live at 8 p.m. with host Ron Della Gidon Kremer (January 21; encore January Chiesa, and encore broadcasts are aired 30), and music of Julian Anderson (a BSO on Monday nights at 8 p.m. In addition, co-commission), Schumann, and Schubert interviews with guest conductors, soloists, with conductor Christoph von Dohnányi and and BSO musicians are available online, pianist Jean Frédéric Neuburger (January 28; along with a one-year archive of concert encore February 6). broadcasts. Listeners can also hear the BSO Concert Channel, an online radio station Go Behind the Scenes: consisting of BSO concert performances The Irving W. and Charlotte F. Rabb from the previous twelve months. Visit clas- sicalwcrb.org/bso. Current and upcoming Symphony Hall Tours broadcasts include last week’s program of The Irving W. and Charlotte F. Rabb Sympho- music by Barber, Terry Riley, and Elgar with ny Hall Tours, named in honor of the Rabbs’ organist Cameron Carpenter and conductor devotion to Symphony Hall through a gift

week 12 bso news 11 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

EXPLORE PRICELESS® BOSTON EXPERIENCES AT PRICELESS.COM

Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. from their children James and Melinda Rabb Friday-afternoon Bus Service and Betty (Rabb) and Jack Schafer, provide to Symphony Hall a rare opportunity to go behind the scenes at Symphony Hall. In these free, guided If you’re tired of fighting traffic and search- tours, experienced members of the Boston ing for a parking space when you come to Symphony Association of Volunteers unfold Friday-afternoon Boston Symphony concerts, the history and traditions of the Boston Sym- why not consider taking the bus from your phony Orchestra—its musicians, conductors, community directly to Symphony Hall? The and supporters—as well as offer in-depth BSO is pleased to continue offering round- information about the Hall itself. Tours are trip bus service on Friday afternoons at cost offered on selected weekdays at 4 p.m. and from the following communities: Beverly, some Saturdays during the BSO season. Canton, Cape Cod, Concord, Framingham, Please visit bso.org/tours for more informa- the South Shore, Swampscott, Wellesley, tion and to register. Weston, and Worcester in Massachusetts; Nashua, New Hampshire; and Rhode Island. In addition, we offer bus service for selected Planned Gifts for the BSO: concerts from the Holyoke/Amherst area. Orchestrate Your Legacy Taking advantage of your area’s bus service not only helps keep this convenient service There are many creative ways that can let operating, but also provides opportunities you support the BSO over the long term. to spend time with your Symphony friends, Planned gifts such as bequest intentions meet new people, and conserve energy. For (through your will, personal trust, IRA, or further information about bus transportation insurance policy), charitable trusts, and gift to Friday-afternoon Boston Symphony con- annuities can generate significant benefits for certs, please call the Subscription Office at you now while enabling you to make a larger (617) 266-7575. gift to the BSO than you may have otherwise thought possible. In many cases, you could realize significant tax savings and secure an Join Our Community of attractive income stream for yourself and/ Music Lovers— or a loved one, all while providing valuable The Friends of the BSO future support for the performances and programs you care about. When you establish Attending a BSO concert at Symphony Hall and notify us of your planned gift for the Bos- is a communal experience—thousands ton Symphony Orchestra, you will become a of concertgoers join together to hear 100 member of the Walter Piston Society, joining musicians collaborate on each memorable a group of the BSO’s most loyal supporters performance. Without an orchestra, there is who help to ensure the future of the BSO’s no performance, and without an audience, extraordinary performances. Members of the it is just a rehearsal. Every single person is Piston Society—named for Pulitzer Prize-win- important to ensuring another great expe- ning composer and noted musician Walter rience at Symphony Hall. There’s another Piston, who endowed the Principal Flute community that helps to make it all possible, Chair with a bequest—are recognized in sev- one that you might not notice while enjoying eral of our publications and offered a variety a concert—the Friends of the BSO. Every $1 of exclusive benefits, including invitations to the BSO receives through ticket sales must various events in Boston and at Tanglewood. be matched by an additional $1 of contribut- For more information about planned gift ed support to cover annual expenses. Friends options and how to join the Walter Piston of the BSO help bridge that gap, keeping the Society, please contact Jill Ng, Director of music playing to the delight of audiences all Planned Giving and Senior Major Gifts Offi- year long. In addition to joining a commu- cer, at (617) 638-9274 or [email protected]. We nity of like-minded music lovers, becoming would be delighted to help you orchestrate a Friend of the BSO entitles you to benefits your legacy with the BSO. that bring you closer to the music you cher-

week 12 bso news 13 BOStOn YOUtH SYmpHOnY Order your Federico Cortese, Conductor tickets today! Edward Berkeley, Stage Director $35–$50 Tatyana, Evelina Dobračeva 617-496-2222 Eugene Onegin, Markus Werba

Semi-Staged Opera perfOrmance Sunday, January 29, 2017 at 3pm Sanders Theatre at Harvard University EXPERIENCE THE FUTURE OF CLASSICAL MUSIC *This performance of Tchaikovsky’s Eugene Onegin contains sensitive subject matter for young children and the running time is nearly 3 hours. Therefore, www.BYSOweb.org this performance is only recommended for children 10 years of age and older. ish. Friends receive advance ticket ordering plays a free concert on Monday, February privileges, discounts at the Symphony Shop, 13, at 8 p.m. at BU’s Tsai Performance Cen- and access to the BSO’s online newsletter ter, 685 Commonwealth Avenue. On the InTune, as well as invitations to exclusive program are Berg’s String Quartet, Opus donor events such as BSO and Pops working 3, Mozart’s Flute Quartet in D, K.285, and rehearsals, and much more. Friends member- Dvoˇrák’s String Quartet in G, Opus 106. ships start at just $100. To join our community of music lovers in the Friends of the BSO, contact the Friends Office at (617) 638-9276 Those Electronic Devices… or [email protected], or join online at As the presence of smartphones, tablets, bso.org/contribute. and other electronic devices used for com- munication, note-taking, and photography has increased, there have also been continu- BSO Members in Concert ing expressions of concern from concertgoers The Concord Chamber Music Society, and musicians who find themselves distracted founded by BSO violinist Wendy Putnam, not only by the illuminated screens on these performs music of Beethoven, Yehudi devices, but also by the physical movements Wyner, Zemlinsky, and Schoenfeld on that accompany their use. For this reason, Sunday, January 29, at 3 p.m. (pre-concert and as a courtesy both to those on stage and lecture at 2 p.m.) at the Concord Academy those around you, we respectfully request Performing Arts Center, 166 Main Street, that all such electronic devices be completely Concord, MA. Tickets are $42 and $33 turned off and kept from view while BSO per- (discounts for seniors and students). For formances are in progress. In addition, please more information, call (978) 371-9667 or also keep in mind that taking pictures of the visit www.concordchambermusic.org. orchestra—whether photographs or videos— is prohibited during concerts. Thank you very The Walden Chamber Players, whose mem- much for your cooperation. bership includes BSO musicians Tatiana Dimitriades and Alexander Velinzon, violins, and Richard Ranti, bassoon, perform music Comings and Goings... of Haydn, John Harbison, Glière, and Brahms Please note that latecomers will be seated on Sunday, February 12, at Wilson Chapel, by the patron service staff during the first 210 Herrick Road, Newton Centre. Tickets convenient pause in the program. In addition, are $20 for adults ($10 for students; children please also note that patrons who leave the under twelve free), available at the door or at auditorium during the performance will not waldenchamberplayers.org. For more infor- be allowed to reenter until the next conve- mation, email info@waldenchamberplayers. nientpause in the program, so as not to dis- org or call (617) 871-9WCP [-9927]. turb the performers or other audience mem- Joined by flutist Linda Toote, the Muir String bers while the music is in progress. We thank Quartet—BSO violinist Lucia Lin and BSO you for your cooperation in this matter. principal violist Steven Ansell, violinist Peter Zazofsky, and cellist Michael Reynolds—

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on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO

exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

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

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

week 12 on display 17 Marco Borggreve

Andris Nelsons

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

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

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

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

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

week 12 andris nelsons 19 Boston Symphony Orchestra 2016–2017

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

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

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

week 12 boston symphony orchestra 21 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Marco Borggreve

A Case for Quality by Gerald Elias

Prompted by his experience on the BSO’s eight-city European tour last spring, former Boston Symphony violinist Gerald Elias reflects on the enduring strengths of symphony concerts.

Last April I had the opportunity to perform Mahler’s Ninth Symphony with the BSO at Symphony Hall and on its spring European tour. The ninety-minute symphony is a challenge both for the musicians and audience. Its relentless intensity and extended tonality keep it always outside the edge of our aural comfort zone, especially compared to the facile lyricism of a Tchaikovsky or Dvoˇrák. When the Symphony Hall performance ended and the musicians stood up to take our bows, I looked out into the audience. There usually is enough light in the hall to see the faces of concertgoers applauding, at least near the stage. Their expressions are a good gauge of how much they enjoyed the concert.

What I saw was more than gratifying. Not only was it clear the performance had been deeply appreciated, I was pleasantly surprised to see a fairly evenly balanced demo- graphic division of people in their twenties and thirties, forties and fifties, and sixties and seventies. And it wasn’t just a fluke. It turned out to be the case time and time again—in Vienna, in Leipzig, in Dresden, in Luxembourg—as well as at Symphony Hall. I suppose I was surprised because there has been a drumbeat of naysayers who prophesy the doom of symphony orchestras, telling us in somber tones that only rich, old folks go to concerts these days. I’m sorry, but that’s not how I’ve seen things. Is

Andris Nelsons and the BSO at the Musikverein in Vienna, May 9, 2016

week 12 a case for quality 23

Gert Mothes

Andris Nelsons and the BSO performing Mahler's Symphony No. 9 at the Gewandhaus in Leipzig, May 5, 2016

there a greater preponderance of older people attending symphony concerts than rock concerts? No doubt. But no one seems to worry about Justin Bieber’s future simply because his audience is severely limited to teeny-boppers. And to the notion that symphonies have priced themselves out of the entertainment market: going to a symphony concert is no more expensive than the average ticket for a Red Sox game, and a lot less than a box seat. So if you can afford to sit in the bleachers and polish off a Fenway frank and a Samuel Adams, you can afford the Boston Symphony.

A prevailing narrative, promulgated, amazingly enough, by some symphony orchestras’ own administrations (though fortunately not the BSO’s), runs like this: (A) Symphony orchestras are in dire trouble. (B) The traditional symphonic format—the repertoire, the two-hour concert, the white-tie-and-tails, the formidable concert hall—is no longer relevant to contemporary society. (C) For the concert experience to be meaningful, and therefore in order for orchestras to survive, it has to connect with a more diverse local community and compete more actively in the entertainment arena. The proposed solu- tion: Orchestras need to jettison the “standard” repertoire and create new formats in less formal, more personalized settings that will attract a more contemporary crowd. In other words, symphony orchestras should cool it with the symphonies. Otherwise, we might as well pack our bags and go home.

I admit I’m exaggerating the argument, but not by much. Nevertheless, I find this narrative not only to be frightening, considering that the source of it is often the organization itself, but also flawed. First, I don’t see that orchestras are on the verge of extinction. On the contrary. People who make this argument are myopically fixated on only the top iert of professional symphony orchestras, and even in this regard it’s somewhat of a fiction. There is no doubt that, as is the case with most nonprofits, raising money is a nonstop challenge. When economic times are tough, orchestras struggle. (Yes, there are some orchestras that continue to struggle regardless of the economy, and some have tragically

week 12 a case for quality 25

Sebastien Grebille

Performing Mahler's Ninth at the Philharmonie Luxembourg, May 12, 2016

shut their doors, but in general when times get better, orchestras rebound.) In other words, they’re like any other business. We don’t write off the retail industry when Sears hits the skids. Why would we do that with orchestras? And don’t forget that during the supposed “golden age” of American symphony orchestras in the 1930s and ’40s, when radio stations like NBC supported their own magnificent in-house orchestras and even movie theaters had their own live musicians, there were comparatively few orchestras that provided anything close to a year-round concert schedule and full-time employment for the musicians, let alone health care and retirement benefits.

Going beyond fully professional orchestras, when you look how deeply embedded the culture of symphonic music is in American society, including hundreds of semi- professional, community, youth, college, festival, and school orchestras, a strong case can be made that symphony orchestras have never been healthier. The same week that I played the Mahler with the Boston Symphony at Symphony Hall, I performed as a soloist with the Long Island Youth Orchestra, which was celebrating its fiftieth anniversary! The same week I played the Mahler at Tanglewood, I coached the string section of the all-amateur Stockbridge Sinfonia for their well-attended annual concert. Going beyond our own shores, the explosion of symphonic music in Asia and South America over the past half-century has been nothing short of mind-boggling. Even if classical music in the U.S. and Europe were suddenly to cease tomorrow, the future of orchestral music would still shine brightly around the world.

And you know what music everyone’s playing? Mozart and Beethoven, Mahler and Strauss, Tchaikovsky and Rimsky-Korsakov, Debussy and Ravel. You know why? It’s simple. They composed great music. Musicians love to play it and audiences love to hear it. So far, no one has tired of gawking at the Mona Lisa or the statue of David. Why should listening to Beethoven’s Fifth be any different? Should symphony orchestras

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Options shown. ©2016 Lexus program more music of contemporary, ethnically diverse composers? Absolutely! If it’s worthy music, by all means. But it’s ass backwards if the motivation is out of fear that otherwise symphony orchestras will die.

But what about the format? The presentation? What about those stuffy concert halls where you have to sit quietly for two hours and not use your cell phones? Isn’t there a better way to connect with the community? Outreach and education activities are great, especially considering the dwindling funding of public school music education. The more the better. But how can such activities “save the symphony” if at the same time the raison d’être—playing symphonies—is devalued by the very organizations trying to “save” it? What would the purpose be of such efforts? If a group of symphony musicians playing Piazzolla tangos in a pub floats their boat, that’s great. That would be a lot of fun. Go for it! Getting to know the musicians up close and personal is a wonderful way for the public to connect. And maybe it would eventually attract some people to go to a real symphony concert. (Personally, when I’m at a pub, I’d rather watch a ball game while I’m drinking my Rolling Rock than listen to string quartets. But, hey, that’s just me.)

But here’s the problem. Outreach has its limits. It’s a challenge to play Tchaikovsky's Fifth Symphony in a bar. I’m not sure how you’d squeeze all those brass players in there. Maybe behind the pool tables. At some point it comes back to concert halls. Sympho- ny orchestras have no choice but to play symphonies in concert halls. And you know what? Some people think it’s very special to go to a concert hall. In fact, a lot of people feel that way. It gives them a sense of being part of something very unique and special. Maybe that’s why they’ve kept coming for three hundred years. We are fortunate that the Boston Symphony was founded upon that principle and has steadfastly maintained it to this day.

In this day and age when we’re surrounded by external stimuli 24/7, when our world view is reduced to a two-by-four-inch cell phone screen, when our computerized exis- tence frames us into thinking and feeling and responding in nanoseconds, the appeal of two hours in the comfort of an impressively expansive and comfortable concert hall, listening to an engaging Rossini overture, a sublime Mozart piano concerto, and a heartwarming Brahms symphony may actually be something that people are more inclined to enjoy more now than ever before. To paraphrase Mark Twain, the reports of the death of the symphony orchestra have been greatly exaggerated. gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Currently music director of Vivaldi by Candlelight in Salt Lake City, he is also author of the award-winning Daniel Jacobus mystery series set in the dark corners of the classical music world. For more information, please visit geraldeliasmanofmystery.wordpress.com.

week 12 a case for quality 29 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, January 19, 8pm Friday, January 20, 1:30pm Saturday, January 21, 8pm Tuesday, January 24, 8pm

juanjo mena conducting

prokofiev symphony no. 1 in d, opus 25, “classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

weinberg concerto for violin and orchestra, opus 67 (1959) Allegro molto Allegretto Adagio Allegro risoluto gidon kremer

{intermission} Marco Borggreve

30 tchaikovsky symphony no. 4 in f minor, opus 36 Andante sostenuto—Moderato con anima Andantino in modo di canzone Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

saturday evening’s performance of tchaikovsky’s symphony no. 4 is supported by a gift from avi nelson. tuesday evening’s performance of tchaikovsky’s symphony no. 4 is supported by a gift from john o’leary.

bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:05, the Friday concert about 3:35. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1775 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 12 program 31 The Program in Brief...

Even before graduating from the St. Petersburg Conservatory in 1914, Sergei Prokofiev had staked his claim as one of the day’s most progressive, modernist composers. In the summer of 1917, however, having retained the habit of composing mainly at the piano, he decided to write a piece without depending on that instrument: a symphony in a musical style—Haydn’s—he felt he understood well from his days at the Conservatory. But despite its overall shape and other suggestions of earlier music, the symphony is pervaded with those sudden shifts of key and color that are unmistakably Prokofiev’s own; and the second movement exploits the gift of broad lyricism he took considerable pains to develop alongside the spikier, more forward-pressing, more obviously atten- tion-grabbing aspects of his style. Another goal, he later revealed, was to write a work that really might turn out to be a “classic”—a task at which he succeeded brilliantly: the Classical Symphony (as he himself called it) remains a favorite of concert audiences worldwide.

As one gleans from Harlow Robinson’s program note, it wasn’t for nothing that Soviet composer Dmitri Shostakovich and the somewhat younger, Jewish, Polish-born Mieczysław Weinberg, who escaped the Nazis by fleeing to Russia, became close friends: both survived (among other things) revolution, war, fascism, genocide, persecution by Stalin’s secret police, loss of family and friends. Today Weinberg’s music remains little-known, though he composed prolifically for fifty years in multiple genres and received several Soviet musical awards. His 1959 Violin Concerto, described by Shosta- kovich as “a beautiful work, in the true meaning of the word,” and championed in recent seasons by Gidon Kremer, is the first piece of his music ever to be played by the BSO. Inevitably, it is Shostakovich’s musical style that provides the new listener an initial frame of reference; but as the four movements of the concerto proceed, it is unquestionably Weinberg’s own voice, and his depth of feeling, that leave the lasting impression.

The last three of Tchaikovsky’s six numbered symphonies are his most popular, the Fourth being generally perceived as a major breakthrough in his approach to symphonic form. Completed in early 1878, around the same time as his opera Eugene Onegin, the Fourth also demonstrates Tchaikovsky’s feel for orchestral color, Russian folk tunes, and dance (Swan Lake, the first of his great ballets, was completed in 1876). In addition, as we know from the composer’s own words, it shares with his Fifth Symphony (completed a decade after the Fourth) an extramusical program based in the notion of an invincible Fate as “the fateful force which prevents the impulse to happiness from attaining its goal”—here reflected in the portentous fanfare for brass and woodwinds introduced at the very outset of the symphony, and which reappears late in the finale.

Marc Mandel

32 Sergei Prokofiev Symphony No. 1 in D, Opus 25, “Classical”

SERGEI SERGEIEVICH PROKOFIEV was born in Sontsovka, Ukraine, on April 27, 1891, and died in Moscow on March 5, 1953. He began composing the Symphony No. 1 in Russia in 1916 and completed the full score on September 10, 1917. The first performance was given by the State Orchestra (later renamed the Leningrad Philharmonic) in Petrograd on April 21, 1918, with Prokofiev conducting.

THE SCORE OF THE “CLASSICAL” SYMPHONY calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Prokofiev composed his most cheerful and sunny symphony, theClassical , during one of the darkest and saddest moments in modern Russian history. At the World War I front, the Tsar’s soldiers were dying by the thousands. The Russian army was so poorly equipped that new recruits were instructed to take weapons from the dead. Back in Petrograd (whose original name of St. Petersburg was judged too German with a war on), people were starving and desperate. In February 1917, the last of the Romanov rulers, Tsar Nicholas II, abdicated and a weak new Provisional Government took power. On October 25, Vladimir Lenin and his Bolsheviks ousted that regime, seized the Winter Palace, and established the world’s first socialist state. A few months later, a bloody civil war began that plunged the country into prolonged and violent chaos, and sent most of the members of the artistic intelligentsia (including Prokofiev) into emigration.

Spared from military service as the only child of a widow, Prokofiev was not to be found at the barricades. Instead, he sat and composed a work as far removed from the poli- tics of the moment as it could be. This tribute to the spirit of Mozart and Haydn, and by extension to the spirit of that great builder of St. Petersburg, Catherine the Great, became Prokofiev’s sassy answer to the 1917 Revolutions, and also his parting gift to the city that had given him so much. As he wrote in his diary: When our classically inclined musicians and professors (who in my opinion are really

week 12 program notes 33 Program page for the first Boston Symphony performances of Prokofiev’s “Classical” Symphony on January 28 and 29, 1927, with Serge Koussevitzky conducting (BSO Archives)

34 nothing more than false-classics) hear this symphony, they will start shouting about yet another impudent act committed by Prokofiev, and that he can’t even leave Mozart in peace in his grave, but had to disturb him with his dirty hands, sprinkling dirty Prokofievian dissonances among the pure classical pearls—but ym real friends will understand that the style of my symphony is really Mozartian and classical, and then will appreciate it, and the public will probably be glad that it is uncomplicated and merry, and of course they will applaud.

Prokofiev finished his work on theClassical Symphony in autumn 1917 in the countryside outside Petrograd, where he found inspiration for the joyfully brisk finale (Molto vivace) strolling alone through the fields. He decided to write the movement without using a single minor triad, even though he was concerned that “its gaiety might border on the indecently irresponsible.” To his diary, he confided his uncertainty about the rapidly changing political and military events, and admitted: I am neither a counter-revolutionary nor a revolutionary and I do not stand on one side or the other.... I was amazed that during a time of war, revolution, civil war, and famine it was possible for a young man eligible for military service, and who was not wealthy, to live so well and so easily, without cares. It was Schopenhauer and his truths which gave me this spiritual world and the consciousness of happiness: don’t chase after happiness—strive for the lack of sadness. How many possibilities this truth bestows upon us! And how many exquisite surprises does life present to a person who recognizes and embraces this truth!

In his first completed symphony, Prokofiev took the rigorous instruction he had received at St. Petersburg Conservatory from experienced symphonic masters like Alexander Glazunov and deconstructed it. What he produced was a sort of “anti-symphony,” a mini retro-masterpiece that bypasses late-Romantic rhetoric by returning to the style of Haydn (slyly and irreverently updated). Less than fifteen minutes long, the Symphony No. 1 is by far the shortest of Prokofiev’s seven. The third-movement Gavotte, a charm- ingly clumsy dance with grotesquely comic grace-notes in the bassoon part and ungainly octave leaps in the melody, lasts barely more than a minute. This movement, so remi- niscent of the small solo piano pieces that first made Prokofiev’s reputation as the “bad boy of Russian music,” was actually the first of the four to be written, and seems to have set the joking, tongue-in-cheek tone for the whole composition.

Prokofiev gave it the title Classical“ ,” he later wrote, partly out of “naughtiness” and a desire to “tease the geese.” Knowing how thoroughly he had irritated his conservatory professors with raucous works like the exuberant First Piano Concerto and the cacoph- onous Scythian Suite, both perceived as an aggressive trashing of the rules of classical decorum, he wanted to confuse and taunt his critics with a brilliant musical commentary on the Viennese style. That “neo-classicism” was an important feature of the Modernist movement (later adopted by Prokofiev’s frenemy Igor Stravinsky) is by now hardly a revelation, of course, but there are few examples fresher and more distinctive than Prokofiev’s First Symphony, which would eventually become the best-known of his

week 12 program notes 35 ONE DAY UNIVERSITY® at Tanglewood register Sunday, August 27, 2017 today! at general registration: $159 One Day University, the acclaimed lifelong learning series, returns to Tanglewood for its seventh season. Join three award-winning event schedule for august professors as they each present their best lecture in Ozawa Hall. 27, 2017 Then join Andris Nelsons and the BSO for the 2017 season finale

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

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

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

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

*One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. One Day University is a federally registered trademark of Educational Media LLC. It is not a degree granting institution and its programs are not offered for credit. Prokofiev in 1908 or 1909

seven, and one of the most frequently performed and recorded of all 20th-century symphonies.

Usually Prokofiev (a brilliant pianist) began his composition process at the piano, but this time he decided to proceed without the help of the keyboard, since he thought “a composition written this way would probably have more transparent orchestral col- ors.” It was the technique of Haydn, a composer whose music he had recently been studying with his professor Nikolai Tcherepnin, that he had most in mind as he worked. The Classical Symphony is also the first of numerous works that show Prokofiev’s par- ticular fondness for the genres and spirit of the 18th century; others include his operas Love for Three Oranges and Betrothal in a Monastery, the Lieutenant Kije Suite, and the ballets Romeo and Juliet and Cinderella.

In form, the symphony is traditional, with four movements. The orchestration is also what one would find in Haydn, for paired wind instruments without trombones. Characteristic features of the pre-Beethoven symphonic style abound: lots of scales and arpeggios, octave leaps, trills and grace-notes, sudden shifts of volume from piano to tutti fortissimo, repeats. But Prokofiev gently exaggerates these elements and inserts purely modern harmonic twists, especially in the Gavotte, where he playfully juxtaposes clashing major triads. His use of the timpani also displays a bumptious

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38 irreverence. But the exaggeration is never carried too far; this is a tribute rather than a parody.

In October, Prokofiev left Petrograd for Kislovodsk, his favorite resort in the Caucasus. He planned to stay a month, but was stranded there because of the October Revolution until spring 1918. In April, he finally returned to Petrograd and made arrangements to embark on a voyage to the United States via Siberia and Japan, having decided that he needed to leave Russia (temporarily, he thought) for a fresh perspective. On April 20, the dress rehearsal for the world premiere of the Classical Symphony (several times postponed) took place in the Capella inside the Winter Palace complex. In attendance was Anatoly Lunacharsky, culture commissar for the new Bolshevik government, who gave Prokofiev the necessary permission and documentation to leave the USSR. “I conducted well and the orchestra played with animation and accuracy, although not with as much subtlety as I would have liked. When I got up to the podium, a ray of sun fell on my head from the window up above. I saw purple circles in my eyes, but my bow gave the message that this was the sun’s greeting to my sunny symphony and to me.” The sun shone the same way the following day for the premiere, a matinee performance. “The Symphony went marvelously and was a huge success.”

Twelve days later, Prokofiev left for Moscow to catch the trans-Siberian express. He intended to return to Russia within a matter of months, but would stay away—in the United States and Europe—for nine years. Despite its cheery personality, the Classical Symphony turned out to be a kind of musical requiem for the imperial, refined city of Prokofiev’s youth.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor 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, Lincoln Center, the Metropolitan Opera, and the Aspen Music Festival, among others.

THE FIRST AMERICAN PERFORMANCE of the “Classical” Symphony was given by the Russian Symphony Orchestra under Prokofiev’s direction, in December 1918 in New York.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Prokofiev’s “Classical” Symphony were given by Serge Koussevitzky on January 28 and 29, 1927; it remained one of the works he program- med most frequently, both in and out of town between 1927 and 1948. Other Boston Symphony performances were given by Richard Burgin, Charles Munch, Pierre Monteux, Eugene Ormandy, Erich Leinsdorf, Aaron Copland, Arthur Fiedler, Joseph Silverstein, Kurt Masur, Christoph Eschenbach, Yuri Temirkanov, André Previn, Andrew Davis, Rafael Frühbeck de Burgos, Christoph von Dohnányi, Andris Poga, Leonidas Kavakos (the most recent subscription performances, in November 2013), and Gustavo Gimeno (the most recent Tanglewood performance, on July 17, 2016).

week 12 program notes 39

Mieczys´law Weinberg Violin Concerto, Opus 67

MIECZYSL´ AW (or MOISEY) WEINBERG was born in Warsaw, Poland, on December 8, 1919, and died in Moscow, Russia, on February 26, 1996. His Violin Concerto, Opus 67, was composed in 1959 and dedicated to the violinist Leonid Borisovich Kogan, who played the premiere in Moscow on February 12, 1961, with the Moscow Symphony Orchestra conducted by Gennady Rozhdestvensky. This is the first performance by the Boston Symphony Orchestra of any music by Mieczys´law Weinberg. IN ADDITION TO THE SOLO VIOLIN, the score of the concerto calls for an orchestra of piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, timpani, tambourine, drum, tam-tam, xylophone, harp, celesta, and strings.

“At the moment I am under the spell of Weinberg’s Violin Concerto. The violinist- Communist Leonid Kogan performed it brilliantly. It is a beautiful work, in the true meaning of the word. If you see this work announced on the schedule in Leningrad, you must absolutely find the time to go and hear it.”

Such fulsome praise would be welcome to a composer from any source, but coming from the patriarch of Soviet music, Dmitri Shostakovich, it carried special weight. Shostakovich wrote this note to his friend Isaac Glikman on April 30, 1960, after attending what appears to have been a closed hearing of Weinberg’s new concerto, most likely at the Composers Union in Moscow, where the latest works of Soviet composers were tried out (and often harshly criticized) for a select official audience before their public premieres. His reference to Leonid Kogan (1924-1982), who would also give the first public performance in early 1961, as a “violinist-Communist” seems to have been intended as a humorous dig at the celebrated virtuoso, who made no secret of his membership in the Communist Party.

By this time Shostakovich and Weinberg had known each other for nearly twenty years and had become personal and musical soulmates. Both were survivors of some of the

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42 most terrible atrocities of the 20th century: revolution, civil war, fascism, genocide, persecution by Stalin’s secret police, a cataclysmic Nazi invasion, evacuation, public vilification, rehabilitation, the premature and often tragic loss of family and friends. Their psychic and physical health had been undermined by years of stress and struggle.

It was Shostakovich, in fact, who had “discovered” Weinberg’s music in 1943 and arranged for him to come to Moscow from Tashkent, where he had been living in evacuation during World War II. By then, the twenty-four-year old Weinberg had endured enough suffering for a lifetime. Along with other members of the Soviet musical and artistic elite, he had fled to remote, sunny, and dusty Uzbekistan from the city of Minsk, in the Soviet republic of Belorussia, which had fallen to the Nazis in the summer of 1941. In Minsk the young Weinberg had found brief sanctuary after fleeing his native Poland in 1939, literally steps ahead of the invading Nazi forces. Of this period, the composer later said succinctly, “On the whole, dying was easy.” When he entered the USSR at the border of Poland and Belorussia, the Soviet guard mistook his Polish name for “Moisey,” and so he became known as Moisey Weinberg throughout most of his subsequent career. (His friends called him by the affectionate nickname “Metek.”) Cut off from his entire Jewish family, all of whom would eventually perish in the Holocaust, Weinberg, son of a Warsaw violinist and composer, began serious musical study at the Conserva- tory in Minsk, with Vasily Zolotaryov, a pupil of Nikolai Rimsky-Korsakov.

After moving to Moscow in 1943 with Shostakovich’s blessing, Weinberg began a remarkably prolific composing career that lasted for the next fifty years, eventually producing 154 opus numbers, including twenty-six symphonies, seventeen string quartets, six concertos, seven operas, an operetta, three ballets, four cantatas, twenty-eight sonatas, 200 songs and sixty film scores. (Although the famously modest and soft- spoken Weinberg never considered his film work of much importance, it included the score for one of the most significant and internationally acclaimed of all Soviet features, the searing 1957 wartime drama The Cranes Are Flying, directed by Mikhail Kalatozov.) Indeed, Weinberg is probably the most important Soviet composer you have never heard of; his music is only now beginning to gain outside Russia the recognition it deserves.

Weinberg maintained this impressive rate of productivity while living through numerous personal catastrophes. In early 1948, his father-in-law Solomon Mikhoels, renowned star of the Soviet Yiddish theater, was murdered on Stalin’s orders in Minsk in what was alleged to be a traffic accident. For the next five years, Weinberg and his family were under such intense surveillance that he compared it to imprisonment. In early 1953, the situation grew even worse when Weinberg was accused of “Jewish bourgeois national- ism” and possible involvement with the members of the so-called “Doctors’ Plot,” wildly accused of attempting to poison Soviet leaders as Stalin’s paranoia reached grotesque heights. Finally, on February 7, Weinberg was arrested and sent to prison, where he endured solitary confinement under a floodlight. Once again, Shostakovich came to the rescue, writing (at considerable personal risk) a letter to Lavrenty Beria, fearsome head of the secret police, pleading for Weinberg’s release. On April 25, six weeks after the

week 12 program notes 43

International Mieczysłav Weinberg Society

Dmitri Shostakovich and Mieczysłav Weinberg

death of Stalin, Weinberg went home, his delicate health (he suffered from lifelong spinal tuberculosis) further compromised.

Despite all of these Job-like trials, Weinberg reportedly refused to consider himself a victim. Never forgetting that he was saved by Soviet officials from certain death at the hands of the Nazis, he insistently regarded the USSR (in the words of his biographer David Fanning) as “his salvation.” Of Shostakovich, Weinberg remarked, “I count myself as his pupil, his flesh and blood.” Their friendship only deepened with time. As einW - berg’s wife later told writer Elizabeth Wilson, “From the very beginning of their acquain- tance, they established a law whereby each played his new compositions for the other. I remember one day Weinberg telling me of a dream he had had in which Shostakovich invited him to listen to a new work where he heard themes from many of his previous compositions. As he was telling me this story, the telephone rang; it was Shostakovich, who indeed was inviting him to come and listen to a work he had just completed. It turned out to be the Eighth Quartet, which Dmitri Dmitriyevich considered to be his musical autobiography.” Shostakovich even dedicated his Tenth Quartet to Weinberg.

Weinberg was eventually honored by the Soviet musical establishment with several awards: Honored Artist of the Russian Republic in 1971, People’s Artist of the Russian Republic in 1980, and State Prize of the USSR in 1990 (ironically, just one year before the USSR collapsed). But because he was a Polish Jew who had once been arrested and was related to the tainted Mikhoels, because of his own modest and retiring personality, and because he was often dismissed by envious detractors as “a little Shostakovich,” Weinberg’s highly sophisticated and carefully crafted music was never promoted by the Soviet government abroad. And after the fall of the USSR, his relatively traditional music was eclipsed in popularity by the more trendy work of such composers as Alfred

week 12 program notes 45 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . Schnittke and Sofia Gubaidulina. David Fanning has described Weinberg’s composition- al style as a “moderated modernism” akin to that of Benjamin Britten or Shostakovich’s own “middle way.” Weinberg did employ serialist techniques (especially in his opera The Passenger), but for the most part preferred tonality and conventional structures.

The Violin Concerto is a particularly successful example of Weinberg’s ability to breathe new life into traditional forms, and has become one of Weinberg’s best-known and most frequently recorded works. It presents an awesome challenge to the violin soloist, who, from a quadruple stop at the starting gate, plays nearly non-stop throughout its twenty-six-minute duration. Cast in four movements of nearly equal length, it opens energetically in the key of G minor, then progresses (rather unusually) to G-sharp minor in the delicately scored second movement, C major in the mournful Adagio, and G major in the propulsive finale.

The first movement observes classical sonata form, contrasting a strong, highly rhythmic, dance-like and chromatic first theme punctuated with stinging dissonant intervals against a sighing, ethereal second theme accompanied by harp and celesta. A mood of melancholy reflection prevails in the second and third movements; in the Adagio, a dreamy melody (almost Bach-like in its serene simplicity) is accompanied throughout by muted strings, with rare comments from harp, woodwinds, tam-tam, and horn. In the opening bars of the fourth movement, the soloist takes a brief rest as the brass instruments and strings introduce an ebullient march theme later taken up by the soloist. The finale’s last few pages are especially effective, returning briefly to the first movement’s infectious opening “motto” theme, scored for an intimate chamber ensemble of violin solo, timpani, strings, and harp, fading unexpectedly into silence at the very end.

Harlow Robinson

THE AMERICAN PREMIERE OF WEINBERG’S VIOLIN CONCERTO was played by Gidon Kremer with Andrey Boreyko conducting the Naples Philharmonic on January 9, 2015, in Naples, Florida.

week 12 program notes 47

Pyotr Ilyich Tchaikovsky Symphony No. 4 in F minor, Opus 36

PYOTR ILYICH TCHAIKOVSKY was born at Kamsko-Votkinsk, Vyatka province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He began the Symphony No. 4 in May 1877 and completed the score on January 19, 1878. Nicolai Rubinstein conducted the first performance on March 4 that year, in Moscow.

THE SCORE OF TCHAIKOVSKY’S SYMPHONY NO. 4 calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, bass drum, and strings.

For Tchaikovsky, the Symphony No. 4 was a breakthrough work, a bounding creative leap beyond his first three symphonies. In scale, control of form, intensity, and ambition it towers above any symphonies previously produced by other Russian composers, most of whom shunned the symphonic form in favor of operas and programmatic works. Here, in one of the masterpieces of late Romanticism, Tchaikovsky combines his strong sense of the theatrical (already demonstrated in Romeo and Juliet, Francesca da Rimini, and Swan Lake) with a heightened mastery of orchestration and thematic development.

The year of the composition of the Fourth Symphony—1877—has been called the most fateful year in the composer’s eventful and emotionally volatile life. It was in 1877 that he made the rash and ultimately tragic decision to marry Anto nina Ivanovna Mily u kova, a woman he barely knew. He did so (on July 18) in a panic-stricken attempt to conceal— or even overcome—his homosexual inclinations.

Not surprisingly, given Tchaikovsky’s lack of sexual interest in women and the un balanced personality of Milyukova, the marriage ended in disaster. It lasted a mere two months, at the end of which Tchaikov sky attempted suicide by walking into the frigid Moscow River in the hopes of contracting pneumonia. (Those who have seen Ken Russell’s film-bio of Tchaikovsky,The Music Lovers, will no doubt remember the scene.) Fleeing his wife and his botched attempt at a “normal” life, he escaped to

week 12 program notes 49 Program page for the first BSO performance of music from Tchaikovsky’s Symphony No. 4—the second and third movements—on October 18, 1890, with Arthur Nikisch conducting (BSO Archives)

50 The ill-fated couple: Tchaikovsky and his wife, Antonina Milyukova

St. Petersburg and then to Europe. It was there, far from the problems that await ed him in Russia, that he completed the Fourth Sym phony, begun in the spring. From this time on, Tchaikov sky restlessly divided his time between Russia and Europe, feeling entirely comfortable in neither.

Milyukova was not the only woman in Tchaikovsky’s life at the time. The other was Nadezhda von Meck, a wealthy widow so passionate about the composer’s music that she be came his patron, giving him large sums of money so he could continue composing without financial worries. At von Meck’s insistence, however, they never met, and in stead maintained a remarkable epistolary relationship. During the stressful period of his failed marriage, Tchaikovsky turned to von Meck for emotional and financial support. She did not fail him. In gratitude, Tchaikovsky dedicated to her his new Fourth Sym phony, but anonymously, as they had agreed: “To my best friend.”

Not only did the composer dedicate the Fourth Symphony to von Meck; he also provided her with a detailed written description of its emotional program. “In our symphony there is a programme,” he wrote, “i.e., it is possible to express in words what it is trying to say, and to you, and only to you, I am able and willing to explain the meaning both of the whole and of the separate movements.”

The symphony’s “signature”—among the most famous music Tchaikovsky ever wrote— is its stunning, even alarming opening fanfare scored for brass and woodwinds. This introduction, Tchaikovsky told von Meck, “is the seed of the whole symphony, undoubt- edly the main idea.... This is fate, this is the fateful force which prevents the impulse to happiness from attaining its goal.... It is invincible, and you will never overcome it. You can only reconcile yourself to it, and languish fruitlessly.” This “fate” motif appears most prominently in the opening movement, but reappears dramatically in the finale. (Tchaikovsky would go even further in the Fifth Symphony, using a “signature” motif in

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52 Tchaikovsky’s patroness Nadezhda von Meck

all the movements.) In the finale, the “fate” motif grows (at measure 200) out of a folk song in a most ingenious and startling manner.

If this fanfare represents thwarted happiness, then the stuttering waltz theme that follows in the first movement also reflects frustration, Tchaikovsky toldon v Meck. The theme is in 9/8 meter, which lends it a fluid and yet halting gait. “The cheerless and hopeless feeling grows yet stronger and more burning. Is it not better to turn away from reality and submerge yourself in daydreams?” These daydreams (remember that the title of Tchaikovsky’s First Symphony was “Winter Daydreams”) are reflected in the melancholy, rising-and-falling theme given to the clarinet.

Of the much shorter second movement (Andantino in modo di canzone), Tchai kov sky said this: “This is that melancholy feeling which comes in the evening when, weary from your labor, you are sitting alone, you take a book—but it falls from your hand. There comes a whole host of memories. You both regret the past, yet do not wish to begin your life again. Life has wearied you.... It’s sad and somehow sweet to immerse yourself in the past.”

The scherzo (Pizzicato ostinato) offers respite from the emotional intensity of the outer movements. Constructed in classical, even Mozartian fashion, in three sections (ABA), this delicate and innovative confection is dominated by the strings, playing pizzicato, with a middle Trio section featuring a playful military-style theme in the brass and winds.

A well-known Russian folk song (“A little birch tree stood in the field”: “Vo polye beryozinka stoyala”) provides the central focus for the relatively brief, but fiery final movement. (It’s not labeled “Allegro con fuoco”—“Fast, with fire”—for nothing!) Some years earlier, Russian composer Mily Balakirev (1837-1910) had used the same folk song in his Overture on Three Russian Themes, but treated it very differently. Balakirev

week 12 program notes 53 Program page for the first complete Boston Symphony performance of Tchaikovsky’s Symphony No. 4 on November 28, 1896, with Emil Paur conducting (BSO Archives)

54 retained the circular free rhythmic structure of the tune, remaining faithful to the Rus- sian folk tradition. But Tchaikovsky, more of a “Westernizer,” adds two beats after the first phrase, squaring the tune to fit into conventional 4/4 meter. By the finale’s end, Tchaikovsky has whipped this innocent little tune into a tragic frenzy that culminates in the majestic reentry of the “fate” theme.

“Hardly have you managed to forget yourself and to be carried away by the spectacle of others’ joys, than irrepressible fate again appears and reminds you of yourself,” the composer wrote to von Meck about the finale. “But others do not care about you. They have not even turned around, they have not glanced at you, and they have not noticed that you are solitary and sad.”

Musicologists and biographers have long debated how accurately Tchaikovsky’s over- heated description of the Fourth Symphony reflects its content. They do agree on one thing. The score, despite some flaws (excessive repetition, and what Russian composer Sergei Taneyev called an overuse of “ballet music”), established Tchaikovsky as one of the masters of the symphonic form in Russia and elsewhere.

Harlow Robinson

THE AMERICAN PREMIERE OF TCHAIKOVSKY’S SYMPHONY NO. 4 was given by Walter Damrosch with the New York Symphony Society on February 1, 1890.

THE FIRST BOSTON SYMPHONY PERFORMANCES WERE PARTIAL ONES, when Arthur Nikisch led just the second and third movements here on October 18, 1890, subsequently program- ming just those movements for numerous out-of-town and tour performances between that month and February 1892, with a final performance of the two paired movements on a March 1892 benefit concert in Boston. The first complete BSO performances of the Tchaikovsky Fourth were given by Emil Paur on November 27 and 28, 1896, subsequent ones being given by Wilhelm Gericke, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Thomas Schippers, Eleazar de Carvalho, Erich Leinsdorf, Sixten Ehrling, Milton Katims, Colin Davis, Daniel Barenboim, Seiji Ozawa, Stanislaw Skrowaczewski, Joseph Silverstein, Herbert Blomstedt, Michael Tilson Thomas, Gennady Rozhdestvensky, Kurt Masur (in guest appearances on BSO subscription concerts with the Gewandhaus Orchestra of Leipzig), Leonard Slatkin, Robert Spano, Bernard Haitink, Charles Dutoit, Adám Fischer, Federico Cortese, Neeme Järvi, Christoph von Dohnányi (the most recent subscription performances, in April 2007), James Levine, Michael Stern, and Stéphane Denève (the most recent Tanglewood performance, on August 9, 2014).

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The important modern study of Prokofiev is Harlow Robinson’sSergei Prokofiev: A Biography, published originally in 1987, and reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”- vs.-“Western” perspectives typical of their time, as reflected in such older volumes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence Northeastern( University). Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). David Fanning discusses Prokofiev’s symphonies in his chapter on “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Symphony–A Listener’s Guide includes his program notes on Prokofiev’s symphonies 1 Classical( ), 5, and 6 (Oxford University paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobiographical account covering the first seventeen years of Prokofiev’s life, through his days at the St. Petersburg Conserva- tory (Doubleday).

Recordings of Prokofiev’sClassical Symphony include Leonard Bernstein’s with the New York Philharmonic (Sony), Valery Gergiev’s, part of his complete Prokofiev symphony cycle with the London Symphony Orchestra (Philips), Kurt Masur’s with the London Philharmonic (Apex), Seiji Ozawa’s, part of his complete Prokofiev symphony cycle with the Berlin Philharmonic (Deutsche Grammophon), André Previn’s with the London Symphony Orchestra (EMI), and Yuri Temirkanov’s with the St. Petersburg Philharmonic (RCA). Serge Koussevitzky made two recordings of the Classical Symphony with the Boston Symphony Orchestra, in 1929 and 1947 (both recorded originally for RCA).

David Fanning’s Mieczysław Weinberg: In Search of Freedom is a full-scale biography of the composer (Wolke). Much about Weinberg can be found in Elizabeth Wilson’s Shostakovich: A Life Remembered (Princeton University paperback). Story of a Friend- ship: The Letters of Dmitry Shostakovich to Isaak Glikman with a commentary by Isaak Glikman, translated by Anthony Phillips, includes a number of letters about Weinberg and his music (Cornell University Press). The Weinberg entry in the 2001 New Grove

week 12 read and hear more 57 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. Dictionary of Music and Musicians is by Lyudmilla Dmitriyevna Nikitina. “Weinberg, Stepping Out of History’s Shadows,” by Jeremy Eichler—a thoughtful appraisal from July 2014 of the composer’s life and work—appeared in the Boston Globe when Weinberg’s Holocaust-themed opera, The Passage (1967-68), had its first New York production that month (bostonglobe.com/arts/music/2014/07/19/Weinberg). A list of recordings of the composer’s music can be found on the website of the International Mieczysław Weinberg Society (weinbergsociety.com).

Violinist Leonid Kogan, the dedicatee of Weinberg’s Violin Concerto, and who played the premiere, recorded it in 1961 with Kiril Kondrashin and the Moscow State Phil- harmonic Society Symphony Orchestra (Melodiya). Other recordings include Ilya Grubert’s with Dmitry Yablonsky conducting the Russian Philharmonic (Naxos) and Ilya Gringolts’s with Jacek Kaspszyk conducting the Warsaw Philharmonic (Warner

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Classics). Weinberg’s seventeen string quartets as performed by the Quatuor Danel are available in a six-disc set (cpo). Varied selections from Weinberg’s works, including his Symphony No. 10, can be found in the two-disc set “Mieczław Weinberg” featuring Gidon Kremer and his Kremerata Baltica (Lockenhaus) and the CD “On the Threshold of Hope: Mieczław Weinberg, Chamber Music,” which includes the Clarinet Sonata, Op. 28; the Piano Quintet, Opus 18, and his Jewish Songs after Shmuel Halkin, Opus 17, with Artists of the Royal Conservatory and tenor Richard Margison (RCA). Weinberg’s opera The Passage is available on DVD and Blu-ray in a David Pountnoy production from the 2010 Bregenz Festival (Arthaus).

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton). The Symphony No. 4 is discussed in Volume II, “The Crisis Years: 1874- 1878” (Norton). Brown is also the author of Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and its wealth of illustrations (Scribners). Anthony Holden’s Tchaikovsky is a single-volume biography that gives ample space to the theory that Tchaikovsky committed suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study also takes a close look at this question (Oxford). Also useful are Alexandra Orlova’s Tchaikovsky: A Self-Portrait (translated by R.M. Davison), an “autobiographical narrative” based on surviving documentation (Oxford), and David Brown’s chapter “Russia Before the Revolution” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s program notes on Tchaikovsky’s Fourth, Fifth, and Sixth (Pathétique) symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

The Boston Symphony Orchestra recorded Tchaikovsky’s Symphony No. 4 under Serge Koussevitzky in 1936, under Koussevitzky again in 1949, under Charles Munch in 1955, and under Pierre Monteux in 1959 (each time for RCA). Andris Nelsons has recorded it with the City of Birmingham Symphony Orchestra (Orfeo). Other noteworthy recordings—of varying vintage, listed alphabetically by conductor—include Claudio Abbado’s with the Vienna Philharmonic (Deutsche Grammophon), Leonard Bernstein’s with the New York Philharmonic (Sony), Valery Gergiev’s with the Vienna Philharmonic (Philips), Vladimir Jurowski’s live with the London Philharmonic (Lpo), Igor Markevitch’s with the London Symphony Orchestra (Philips), Kurt Masur’s with the Gewandhaus Orchestra of Leipzig (Telarc), and Evgeny Mravinsky’s with the Leningrad Philharmonic (Deutsche Grammophon).

Marc Mandel

week 12 read and hear more 61 familymatters

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goulstonstorrs.com Guest Artists

Juanjo Mena

Chief Conductor of the BBC Philharmonic in Manchester, United Kingdom, Juanjo Mena is one of Spain’s most distinguished international conductors. Following his recent debut with the Berlin Philharmonic and appearances with the New York Philharmonic and with the Boston Symphony Orchestra at Tanglewood, he makes debuts this season with the Rotterdam Philharmonic, NHK Symphony Orchestra, New World Symphony, and Swedish Radio Orchestra. He has return engagements in Boston, Cincinnati, Minnesota, Copenha- gen, Dresden, and Oslo, and embarks on two European tours with the BBC Philharmonic. In Europe, Mr. Mena has worked with such prestigious orchestras as the Berlin Philhar- monic, London Philharmonic, Oslo Philharmonic, Danish National Symphony, Orchestre National de France, Orchestra Filarmonica della Scala, Munich Radio Orchestra, and Dresden Philharmonic, as well as with all the major Spanish orchestras. He has been artistic director of the Bilbao Symphony Orchestra, chief guest conductor of the Orchestra del Teatro Carlo Felice in Genoa, and principal guest conductor of the Bergen Philharmonic. In North America he has conducted most of the leading symphony orchestras, including those of Chicago, Boston, Houston, Cincinnati, Montreal, Toronto, Baltimore, and Pittsburgh, as well as the New York Philharmonic, Los Angeles Philharmonic, Cleveland Orchestra, and Philadelphia Orchestra. A guest at various international festivals, he has appeared at the Stars of White Nights Festival in St. Petersburg, the Hollywood Bowl, Grant Park (Chicago), Tanglewood, and La Folle Journée in Nantes. He has led the BBC Philharmonic on tours of Europe and Asia, including performances in Cologne, Munich, Vienna, Madrid, Beijing, and Seoul, and appears with that orchestra every year at the BBC

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64 Proms in London. His work on the operatic stage includes The Flying Dutchman, Salome, Elektra, Ariadne auf Naxos, Duke Bluebeard’s Castle, and Erwartung, as well as productions of Eugene Onegin in Genoa, The Marriage of Figaro in Lausanne, and Billy Budd in Bilbao. He has made several recordings with the BBC Philharmonic, including a disc of works by Manuel de Falla (a BBC Music Magazine “Recording of the Month”) and Gabriel Pierné (a Gramophone “Editor’s Choice”), as well as critically acclaimed releases of music by Ginastera, Albéniz, Montsalvatge, Weber, and Turina. He has also recorded a critically acclaimed rendering of Messiaen’s Turangalîla-symphonie for Hyperion with the Bergen Philharmonic. Juanjo Mena made his Boston Symphony Orchestra debut in July 2010 at Tanglewood and his subscription series debut in October 2011, subsequently returning for subscription concerts in November 2012 and October 2014 (music of Sibelius and Schubert, his most recent subscription concerts here) and Tanglewood concerts in August 2014 and July 2016 (music of Ginastera, Mozart, and Beethoven, his most recent appearance with the BSO).

Gidon Kremer

Driven by an uncompromising artistic philosophy, Gidon Kremer has established a worldwide reputation as one of his generation’s most original and compelling artists. Born in 1947 in Riga, Latvia, he began violin studies at age four with his father and grandfather, and entered Riga Music School at seven. He was awarded the First Prize of the Latvian Republic at sixteen and two years later began his studies with David Oistrakh at the Moscow Conservatory. He went on to win prizes at the Queen Elisabeth Competition, Montreal International Music Competition, and both the Paganini and Tchaikovsky international competitions. Over the past five decades he has appeared on virtually every major concert stage with the most celebrated orchestras of Europe and North America, and has worked with many of the greatest conductors of the past half-century. His repertoire encompasses the full span of classical and romantic masterworks and music by leading 20th- and 21st-century composers. He has championed the work of Russian and Eastern European composers and has performed many important new compositions by

week 12 guest artists 65 them, several of which have been dedicated to him. His name is closely associated with such composers as Alfred Schnittke, Arvo Pärt, Giya Kancheli, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Edison Denisov, Aribert Reimann, P¯eteris Vasks, John Adams, Victor Kissine, Michael Nyman, Philip Glass, Leonid Desyatnikov, and Astor Piazzolla. Gidon Kremer has recorded over 120 albums, many of which have earned international awards. Among his many honors are the Ernst von Siemens Musikpreis, the Bundes- verdienstkreuz, Moscow’s Triumph Prize, the Unesco Prize, the Una Vita Nella Musica– Artur Rubinstein Prize, and, in 2016, Japan’s Praemium Imperiale prize in music. In 1997 Gidon Kremer founded the chamber orchestra Kremerata Baltica to foster young musicians from the Baltic States. In addition to extensive touring, they have recorded nearly thirty albums for the Nonesuch, Deutsche Grammophon, Burleske, and ECM labels, earning both an ECHO prize and Grammy award in 2002 for “After Mozart” and a 2015 Grammy nomination for their recording of works by Mieczysław Weinberg. This season they are celebrating both the ensemble’s 20th anniversary and Mr. Kremer’s 70th birth- day year with extensive tours. Mr. Kremer also appears as a concerto soloist with, among others, the Philharmonisches Staatsorchester Hamburg and Kent Nagano, the Berlin Philharmonic and Christian Thielemann, the Boston Symphony Orchestra and Juanjo Mena, and the National Symphony Orchestra and Christoph Eschenbach. Mr. Kremer plays an instrument made by Nicola Amati in 1641. He is the author of four books, of which the latest is Letters to a Young Pianist (2013). These writings have been translated into many languages and reflect the breadth of his artistic pursuits and aesthetic outlook. Gidon Kremer made his BSO debut in April 1979 as soloist in the Brahms Violin Concerto and has since appeared with the orchestra in music of Gubaidulina, Lourié, Tchaikovsky, Schumann (the Cello Concerto, in an arrangement by Shostakovich for violin and orchestra), Shostakovich, Sibelius, Britten, Nyman, Beethoven, Schnittke, and, most recently, in October/November 2001, Schumann’s Violin Concerto. In addition, he has recorded Gubaidulina’s Offertorium, Schumann’s Cello Concerto (in Shostakovich’s arrangement for violin), and Shostakovich’s Violin Concerto No. 2 with the BSO for Deutsche Grammophon.

week 12 guest artists 67 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

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The Great Benefactors

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

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

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

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

two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ •

Fairmont Copley Plaza • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • 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)

70 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 • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •

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

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

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

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 (11)

‡ Deceased

week 12 the great benefactors 71 BOSTON PHILHARMONIC BOSTON PHILHARMONIC ORCHESTRA YOUTH ORCHESTRA

The Boston Trio with The young virtuosos of the its brilliant new cellist BPYO will dazzle you in a Jonah Ellsworth in the concert featuring the winners of beloved Beethoven this year’s concerto competition. Triple Concerto. And Michael Gandolfi has composed Bruckner’s profound final a new piece especially for the symphony—a specialty of occasion, and Hindemith’s Zander and the BPO. Not Symphonic Metamorphosis fits to be missed! right in.

BEETHOVEN BENJAMIN MICHAEL BENJAMIN Triple Concerto ZANDER GANDOLFI ZANDER for violin, cello, conductor Ballet Ruse conductor and piano BOSTON TRIO (World Premiere) Irina Muresanu, violin CONCERTO BRUCKNER Jonah Ellsworth, cello COMPETITION Symphony No. 9 Heng-Jin Park, piano WINNERS HINDEMITH Symphonic Metamorphosis

THURSDAY, FEBRUARY 23 / 7:30PM SUNDAY, FEBRUARY 12 / 3:00PM SANDERS THEATRE / DISCOVERY SANDERS THEATRE SATURDAY, FEBRUARY 25 / 8:00PM NEC’S JORDAN HALL SUNDAY, FEBRUARY 26 / 3:00PM SANDERS THEATRE

TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Thomas D. May, Chief Financial Officer Michael Gandolfi has composed Kim Noltemy, Chief Operating and Communications Officer Bruckner’s profound final Bart Reidy, Director of Development Ray F. Wellbaum, Advisor to the Managing Director

fits administrative staff/artistic

Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator

administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer

boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 12 administration 73 presents A Musical Valentine Ken-David Masur, conducting with Melinda Lee Masur, piano Sunday, February 12 at 3:00pm First Baptist Church, 848 Beacon Street, Newton Centre Schumann Piano Concerto in a minor Tchaikovsky Romeo & Juliet Fantasy Overture

Tickets available now! newphil.org or 617.527.9717 Proceeds from this concert will be shared with Suzuki School of Newton Scholarship Fund and Newton Schools Foundation in support of the Instrumental Music Enrichment Program at Lincoln-Eliot Elementary School. New Philharmonia Orchestra is a member of the Newton Cultural Alliance. www.newtonculture.org

presents

Ken-David Masur, conducting with Melinda Lee Masur, piano

First Baptist Church, 848 Beacon Street, Newton Centre

Piano Concerto in a minor

Romeo & Juliet Fantasy Overture

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 • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 12 administration 75 Celebrating

40TH ANNIVERSARY CONCERT: MARCH 4, 2017 A Child of Our Time 8 PM

Richard Cornell Fanfare WORLD PREMIERE Gunther Schuller Vertige d’Eros TICKETS ON SALE Michael Tippett A Child of Our Time NEPhilharmonic.org Sarah Pelletier, soprano; Krista River, mezzo-soprano; ALL CONCERTS HELD AT Charles Blandy, tenor; Sumner Thompson, bass THE TSAI PERFORMANCE Chorus pro Musica, Jamie Kirsch, Director CENTER

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

Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

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

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

week 12 administration 77

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

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

EXPERIENCE THE 2016–2017 SEASON

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

HANDELANDHAYDN.ORG 617.266.3605

week 12 administration 79 Next Program…

Thursday, January 26, 8pm Friday, January 27, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 28, 8pm

christoph von dohnányi conducting

Julian anderson “incantesimi” (american premiere; bso co-commission)

schumann piano concerto in a minor, opus 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace jean-frédéric neuburger

{intermission}

schubert symphony in c, d.944, “the great” Andante—Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

Revered German conductor Christoph von Dohnányi leads the American premiere of the fine English composer Julian Anderson’s Incantesimi, co-commissioned by the BSO, the Royal Phil- harmonic Society, and the Berlin Philharmonic, which gave the world premiere in June 2016. Incantesimi is a study in long lines, using “five musical ideas that orbit each other in ever-differing relationships.” French pianist/composer Jean-Frédéric Neuburger—introduced to BSO audiences in the 2014-15 season via the world premiere of his composition Aube—makes his BSO debut as piano soloist in Robert Schumann’s passionate, lyrical Piano Concerto, which began life as a single-movement work and was written for Schumann’s wife Clara, one of the great pianists of the age. Franz Schubert wrote his towering orchestral masterpiece, the so-called Great C major symphony, toward the end of his short life. Its exact dates have never been established, but he composed this formally and harmonically innovative piece at around the same time Beethoven wrote his Ninth Symphony.

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

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

Thursday ‘C’ January 26, 8-10:10 Tuesday ‘C’ February 14, 8-9:55 Friday ‘A’ January 27, 1:30-3:40 ANDRIS NELSONS, conductor Saturday ‘A’ January 28, 8-10:10 EMANUEL AX, piano CHRISTOPH VON DOHNÁNYI, conductor BEETHOVEN Piano Concerto No. 2 JEAN-FRÉDÉRIC NEUBURGER, piano BERLIOZ Symphonie fantastique ANDERSON Incantesimi (American premiere; BSO co-commission) SCHUMANN Piano Concerto Thursday ‘C’ February 16, 8-10:20 SCHUBERT Symphony in C, The Great Friday ‘B’ February 17, 1:30-3:50 Saturday ‘A’ February 18, 8-10:20 Tuesday ‘B’ February 21, 8-10:20 Thursday ‘A’ February 2, 8-10:20 ANDRIS NELSONS, conductor Friday Evening February 3, 8-10:20 EMANUEL AX, piano Saturday ‘B February 4, 8-10:20 Tuesday ‘B’ February 7, 8-10:20 SCHULLER Seven Studies on Themes of Paul Klee ANDRIS NELSONS, conductor MOZART Piano Concerto No. 22 in MALIN CHRISTENSSON, soprano E-flat, K.482 CHRISTINE RICE, mezzo-soprano BEETHOVEN Symphony No. 3, Eroica BENJAMIN BRUNS, tenor HANNO MÜLLER-BRACHMANN, bass-baritone TANGLEWOOD FESTIVAL CHORUS, Thursday ‘D’ February 23, 8-10:15 JAMES BURTON, guest chorus conductor Friday ‘A’ February 24, 1:30-3:45 Saturday ‘A’ February 25, 8-10:15 J.S. BACH Mass in B minor ANDRIS NELSONS, conductor BAIBA SKRIDE, violin Thursday ‘B’ February 9, 8-10 HARRIET KRIJGH, cello Friday Evening February 10, 8-9:15 ELSBETH MOSER, bayan (Casual Friday, with introductory comments by a BSO member and no intermission) GUBAIDULINA Triple Concerto for violin, cello, Saturday ‘B’ February 11, 8-10 and bayan (world premiere; BSO co-commission) ANDRIS NELSONS, conductor SHOSTAKOVICH Symphony No. 7, Leningrad BEJUN MEHTA, countertenor LORELEI ENSEMBLE, BETH WILLER, artistic director RAVEL Le Tombeau de Couperin (February 9 & 11 only) Programs and artists subject to change. BENJAMIN Dream of the Song

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

week 12 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (4 p.m. to 8:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 12 symphony hall information 83 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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

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