Summer 2014 Boston Symphony Orchestra

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boston symphony orchestra summer 2014

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

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

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

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

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

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

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was origi- nally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. All bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2014

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

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

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Saturday, July 5, 8:30pm 3 BOSTON SYMPHONY ORCHESTRA RENÉE FLEMING, soprano WILLIAM EDDINS and ROB FISHER conducting Opening Night at Tanglewood: American Music for the Concert Hall and Broadway Stage

Sunday, July 6, 2:30pm 15 BOSTON SYMPHONY ORCHESTRA ASHER FISCH conducting Music of Brahms, Liszt, and Wagner

“This Week at Tanglewood” Again this summer—beginning next weekend, on Friday, July 11—patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. Guests this summer will include, among others, composers William Bolcom, John Harbison, and Christopher Rouse; mezzo- sopranos Isabel Leonard and Sarah Connolly; BSO concertmaster Malcolm Lowe; trumpet players Håkan Hardenberger and BSO principal Thomas Rolfs; violinist Augustin Hadelich; pianists Emanuel Ax and Kirill Gerstein, and conductors Charles Dutoit, Bramwell Tovey, and David Zinman. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 16, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY Walter H. Scott

TANGLEWOODWEEK 1 TABLEOFCONTENTS 1 The Robert and Jane Mayer Concert Opening Night at Tanglewood Saturday, July 5, 2014 The Opening Night at Tanglewood performance is supported by a generous gift from Trustee Robert J. Mayer, M.D., and his wife, Jane, who are longtime BSO patrons at Tanglewood and in Boston. Symphony subscribers for twenty-nine consecutive years, they also attend many performances at Tanglewood each season. Bob was elected an Overseer in 2001 and a Trustee in 2005. He serves as chair of the Overseers Nominating Committee and a member of the Executive, Trustees Nominating, and Annual Funds committees. Bob was previously chair of the Tanglewood Annual Fund. Jane is a member of the Education Committee. The Mayers, who are chairs of the Tanglewood Gala this season, have been members of the benefactor committee for Opening Nights at both Tanglewood and Symphony for many years. Bob and Jane are members of the Koussevitzky Society, the Higginson Society, and the Walter Piston Society. They have supported the Tanglewood Forever Capital Fund, and the Mayer family has also named two seats in Symphony Hall. Bob is the faculty vice-president for academic affairs at Dana-Farber Cancer Institute and the faculty associate dean for admissions at Harvard Medical School, where he is the Stephen B. Kay Family Professor of Medicine. Bob is a graduate of Williams College and Harvard Medical School. Jane directed the department of social work at Beth Israel Deaconess Medical Center for many years before serving as vice-president for resident services and community relations at Cornu Management Company. She currently chairs the Art and Environment Program at Dana-Farber and is a board member of the Winsor School, Kids4Harmony, and the Museum of Fine Arts Boston, where she is also a Gallery Instructor. Jane is a graduate of Boston University and Columbia School of Social Work. Bob credits his father for encouraging his interest in music. He learned to love classical music early, and most of his fondest and clearest memories are of seeing the greats perform the best music. Bob and Jane have shared their passion for music and Tanglewood with their two daughters, Erica and Rachel, and their families.

2 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, July 5, 8:30pm Opening Night at Tanglewood THE ROBERT AND JANE MAYER CONCERT

WILLIAM EDDINS conducting

SCHWANTNER “Freeflight”

COPLAND Night Thoughts, from “Music for a Great City”

BARBER “Knoxville: Summer of 1915,” Opus 24, for soprano and orchestra

RENÉE FLEMING, soprano Text is on page 6.

ADAMS “Short Ride in a Fast Machine”

{Intermission}

ROB FISHER conducting

RODGERS Overture to “South Pacific” (1949)

RODGERS & The Sound of Music, from “The Sound of Music” (1959) HAMMERSTEIN Wonderful Guy, from “South Pacific” (1949) Hello, Young Lovers, from “The King and I” (1951)

RENÉE FLEMING

GERSHWIN Overture to “Girl Crazy” (1930)

GEORGE & IRA Fascinating Rhythm, from “Lady Be Good” (1924) GERSHWIN Ms. FLEMING

GEORGE GERSHWIN/ Summertime, from “Porgy and Bess” (1935) DUBOSE HEYWARD Ms. FLEMING

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

TANGLEWOODWEEK 1 SATURDAYPROGRAM 3 4 NOTES ON THE PROGRAM

American Concert Music Orchestral music in the United States started to come into its own only at the end of the 19th century and reached a kind of maturity more or less in parallel with the maturity of the country’s major orchestras. The Boston Symphony Orchestra, which reached its fiftieth year in 1931, provided many opportunities for American composers, especially through the commitment of Serge Koussevitzky. Koussevitzky was Aaron Copland’s earliest and most constant supporter when the composer was a young man in his twenties, and the fruitful outcome of that relationship encouraged Koussevitzky to continue to support other American voices. “The next Beethoven will from Colorado come!,” he famously declared. With Copland at its forefront, American orchestral music blossomed in the 1930s and ’40s and remains relatively healthy and robust. Joseph Schwantner’s Freeflight, subtitled Fanfares and Fantasy, was commissioned by the Boston Pops Orchestra, John Williams, Conductor, and the score is marked “for John Williams.” Williams led the premiere with the Pops on May 9, 1989, and gave a repeat performance at Tanglewood that July. Thus this is the first BSO performance of the piece, but its second hearing in the Koussevitzky Music Shed—and some of the players in tonight’s performance participated in the premiere, twenty-five years ago. Born and raised in Chicago, Schwantner (b.1943) has been prominent in American music since the late 1960s. He won a Pulitzer Prize in 1979 for his Aftertones of Infinity and spearheaded what came to be called the “neoroman- tic” movement, characterized by a return to tonality. Schwantner is especially known as a consummate and colorful orchestral composer: his music has an immediate impact on the listener through its use of clear, strong musical figures clothed in luminous instrumental timbres. Freeflight, whose title suggests its exuberant mood, begins with rhythmically punchy, syncopated “fanfares,” widely varied in texture and harmony, and moves into the contrasting “fantasies,” flowing and melodic but still lively. The piece is rounded out by a return of the fanfare idea. Aaron Copland (1900-1990) was one of Tanglewood’s most important figures, both as composer and as a founding faculty member of the Tanglewood Music Center in 1940. He also conducted the BSO frequently, including the orchestra’s first performances, at Symphony Hall in March 1965, of Music for a Great City, of which “Night Thoughts” is the second movement. (Its Tanglewood premiere was the following August.) The four-movement work originated as the score for the (rather bleak) Bronx-based film Something Wild, released in 1961. Copland reworked its materials in 1963-64 and led the premiere of the new concert work with the London Symphony Orchestra in May 1964. He felt that “The nature of the music in the film seemed to me to justify extended concert treatment. No attempt was made to follow the cinematic action. The four movements of the work alternate between evocations of big city life with its external stimuli, and the more personal reactions of any sensitive nature to the varied experiences associated with urban living.” “Night Thoughts” is the slow movement of this suite, contrasting strongly with the acerbic, New York-intense faster movements. The listener will likely recognize the Copland of Appalachian Spring (composed twenty years earlier) in the rich counterpoint, trans- parent harmonies, and orchestration, but in spite of its slow tempo this music has the edge and restlessness of jazz.

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 5 KNOXVILLE: SUMMER OF 1915 We are talking now of summer evenings in Knoxville Tennessee in that time that I lived there so successfully disguised to myself as a child. ...It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horse- men, squared with clowns in hueless amber. A streetcar raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes.... Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there....They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine,... with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

6 Knoxville: Summer of 1915 by Samuel Barber (b.1910) is one of the bona fide classics of American music (not quite attaining the status of the composer’s universally beloved Adagio for Strings). It was premiered by the soprano Eleanor Steber with the Boston Symphony Orchestra under Koussevitzky in April 1948. Although it was Steber who ultimately commissioned the work, it predated her involvement and was a product of Barber’s relationship with Koussevitzky and the BSO, which had already performed the composer’s School for Scandal Overture, the Violin Concerto, the first Essay for Orchestra, and the premiere of his Second Sym- phony, Airborne. Barber had no particular prospects for Knoxville when he sent Koussevitzky the score in 1947, but the conductor was delighted, sug- gesting Barber send it to Steber. The text is taken from James Agee’s autobiographical essay “Knoxville, 1915,” used as the introduction to his novel A Death in the Family. The point of view (but not the language) is that of the six-year-old Agee, whose innocent understanding is variably comfortable, excited, and emotionally intense. Barber sets the straightforward but image-rich prose in several episodes. The outer sections focus on Agee’s family and home, at first descriptive, then examining. Barber sets the descriptive sections with lilting, three-beat melodies. The opening tune, which returns throughout the piece, uses the common pentatonic scale for a strong, clear, folk-like quality. This moves almost without transition to an overstimulated episode describing Knoxville’s bustling evening activity, centered on the streetcar. We return to the front porch and the opening tune, which broadens out into a major-key musing on the narrator’s family. The child is overcome with emotion: “May God bless my people.” After the child’s final brief crisis of identity the opening melody returns in the oboe as a kind of ultimate comfort. Renée Fleming performed Knoxville under James Levine’s direction for the opening concerts of the orchestra’s 2006-07 season, the orchestra’s most recent performances. Worcester, Massachusetts-born, Harvard-educated composer and conductor John Adams (b.1947; not the John Luther Adams [b.1953] who won the Pulitzer Prize in music this year) is perhaps the most frequently performed living orchestral composer, but he’s probably even better known for his operas. His Nixon in China, The Death of Klinghoffer, and Doctor Atomic are virtually unique among American operas in being produced by major companies and remaining in the repertoire. Nixon in China and Doctor Atomic have both been produced at the Metropolitan Opera, and The Death of Klinghoffer will be performed there in the 2014-15 season. His latest opera/oratorio, The Gospel According to the Other Mary, was

Deborah O’Grady premiered in concert by the Los Angeles Philharmonic in 2012 and receives its first staged performances at the English National Opera in November 2014. Adams’s On the Transmigration of Souls, commissioned by the New York Phil- harmonic to commemorate the anniversary of the 9/11 attacks, received the Pulitzer Prize in 2003; he won the prestigious Grawemeyer Award for his Violin Concerto. He composed Century Rolls for Emanuel Ax and the Cleve- land Orchestra. A California émigré, he has had especially fruitful and ongoing relationships with both the Los Angeles Philharmonic and the San Francisco Symphony. Short Ride in a Fast Machine, Fanfare for orchestra, was commissioned for the opening of the Mansfield, Massachusetts, “Great Woods Festival,” and was premiered by the Pittsburgh Symphony Orchestra and Michael Tilson Thomas in June 1986. Known for bringing the avant-garde minimalism of the 1970s into a mainstream context, Adams uses many hallmarks of that style in his Short Ride: a strong, steady pulse (ticked off on woodblocks throughout), unusual harmonic rhythm, and insistent

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 7 repetition. The brilliance of the instrumentation is a characteristic of all of the composer’s music. The piece’s harmonies resist progression in the usual sense, giving the piece a breathless, unresolved quality until the very end. The BSO’s only previous performance of Short Ride was under Edo de Waart at Tanglewood in July 1987.

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

Music from American Musical Theater The second half of tonight’s all-American program explores both orchestral and vocal selections by some of the towering figures from the world of musical theater. These outstanding composers and lyricists created what we now call “The Great American Songbook,” which flourished in the period from the 1920s through the 1950s. Although all of these melodies began life in the scores of Broadway musicals, they have transcended their original purpose of introducing or delineating a character, and are regularly performed outside a theatrical setting. Richard Rodgers (1902-1979) is unique among musical theater composers, achiev- ing success with two masterful—albeit stylistically different—lyricists, Lorenz Hart (1895-1943) and Oscar Hammerstein II (1895-1960). Rodgers and Hammerstein took the craft of musical theater writing to new heights, integrating story and song in unprecedented ways. Their partnership produced Broadway hits ranging from 1943’s Oklahoma! to 1959’s The Sound of Music. In South Pacific (1949) they dared to tackle such sensitive subject matter as the effects of war and racism. Their musical adaptation of two stories from James Michener’s Pulitzer Prize-winning Tales of the South Pacific itself went on to earn a Pulitzer, and the original cast album, one of the earliest 33-rpm recordings, was the best-selling album of the 1940s. In the overture one can hear several of the show’s enduring melodies, bookended by the evocative, scene-setting “Bali Ha’i.” Each of the three Rodgers and Hammerstein vocal selections Composer Richard Rodgers and lyricist being performed in tonight’s concert illuminates the emotional Oscar Hammerstein II state or motivation of the show’s lead female character—Maria’s rebellious streak, Nellie’s effervescence, Anna’s empathy—while at the same time touching upon universal feelings. “The Sound of Music,” the final Rodgers and Hammerstein collaboration, was a Broadway hit, and the 1965 film version a cinematic juggernaut. The title song introduces us to Maria, a postulant from a nearby convent, reluctant to leave the natural wonders of the Austrian mountainside. The American Film Institute ranks this song at #10 in its list of the top 100 songs in American cinema. Our South Pacific heroine, Arkansas nurse Nellie Forbush, has just accepted a marriage proposal from the older, French-born plantation owner Emile de Becque and exu- berantly declares, “I’m in love with a wonderful guy.” This song is not only a wonderful example of the lilting, sweeping waltz style Rodgers often favored, but also a reflection of original star Mary Martin’s sparkling personality. Frederick W. Nolan’s

8 book The Sound of Their Music includes Ms. Martin’s recollection of first hearing the song, with Rodgers playing the piano and Hammerstein singing: And I realized [they] expected me to sing [the last] 26 words on one breath. So I sat down beside Richard and he played it and I sang it. I sang it at the top of my voice, and when I finished I fell off the piano bench, because I was all in when I got to the end. And Richard Rodgers turned and looked at me on the floor and said, “That’s exactly what I want. Never do it differently. We must feel you couldn’t squeeze out another sound.” “Hello, Young Lovers” from 1951’s The King and I—the musical based on the mem- oirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the mid-19th century—has an interesting genesis. Rodgers and Hammerstein at first envisioned an Act I scene in which the widowed Anna would describe to the King’s wives her life before coming to Siam. Struggling with the words, Hammerstein even- tually decided instead to express Anna’s feelings about love: she wishes only the best for young lovers everywhere because she, too, has experienced such intensity of emotion. After five weeks of work, he sent the lyric, which he considered among his best, to Rodgers, but heard nothing for days, his pride preventing him from asking the composer his opinion. Finally the opportunity arose during a phone call, with Rodgers stating simply that the lyric was “okay.” The melody is another signature Rodgers waltz. George Gershwin (1898-1937) found success not only on the Broadway stage (Lady Be Good, Strike Up the Band, Of Thee I Sing), but also in the concert hall (Rhapsody in Blue, An American in Paris), and he wrote what is now considered the great American opera, Porgy and Bess. Gershwin’s remarkable ability to incorporate a wide variety of musical influences into his works, while creating his own distinctive voice, set him apart from other composers. He was a significant force in bringing respectability to jazz, which in the 1920s was considered by many to be inferior, even degrading, music. Girl Crazy, which was premiered in 1930, marked Ethel Merman’s stage debut and made Ginger Rogers a star. The overture samples many of the memorable songs from the score, including “Bidin’ My Time,” “Embraceable You,” “But Not For Me,” and “I Got Rhythm” (which opens and closes the overture). George’s older brother Ira (1896- 1983) provided the lyrics for these songs, as he had since the brothers’ first collaboration, 1924’s Lady Be Good. Because of his George and Ira Gershwin flanking DuBose Heyward, 1935; photo ability to craft precise and impeccable lyrics, autographed by the Gershwin brothers to Heyward (Gershwin Ira was dubbed “The Jeweller” by many of Archive/Library of Congress) his songwriting colleagues. Lady Be Good yielded two songs that went on to become standards: “Oh, Lady Be Good!” and “Fascinating Rhythm.” The latter, introduced by Cliff Edwards (known as “Ukelele Ike” and the voice of Jiminy Cricket in Disney’s Pinocchio) and the brother- sister act of Fred and Adele Astaire, lives up to its title, perfectly melding George’s infectious tune with Ira’s slangy lyrics. In his book A Gershwin Companion: A Critical Inventory & Discography, 1916-1984, Walter Rimler describes a dispute between the

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 9 brothers about the rhyme scheme of “Fascinating Rhythm”: George thought that a two-syllable rhyme was needed on the fourth and eighth lines (at “quiver” and “flivver”) with the accent on the first syllable in each instance. Ira wanted a single rhyme on the last syllable. The argument went on for several days before George was able to convince Ira that, because the downbeat of this rhythmically tricky song (its phrases are in two concurrent and conflicting meters, 2/4 and 3/4) came on the first syllable, a rhyme had to be there. Morris Gershwin, father of the songwriting team, liked to call this “Fashion on the River.” “Summertime” is the best-known selection from Gershwin’s 1935 “folk opera,” Porgy and Bess, which featured a libretto by DuBose Heyward (1885-1940), who also provided most of the lyrics. Clara introduces the song as a lullaby to her baby and reprises it when a hurricane is approaching Catfish Row; after Clara is among those killed in the violent storm, Bess sings it to the motherless baby. “Summertime” is one of the most covered songs in the history of recorded music, with thousands of renditions by both solo artists and groups of all musical stripes. Billie Holiday’s 1936 recording was the first on the pop charts, reaching #12, and Billy Stewart’s 1966 version the most commercially successful. Other notable artists who have covered the song include Frank Sinatra, Janis Joplin, Miles Davis, Sam Cooke, and John Coltrane. The instrumental introduction establishes the languid South Carolina setting, and its pentatonic and blues elements, as well as its folksong-like construction, make “Summertime” especially attractive to jazz performers.

ELEANOR HAYES MCGOURTY Eleanor Hayes McGourty is an Assistant Director of Program Publications for the Boston Symphony Orchestra and program editor for the Boston Pops.

10 Guest Artists

Renée Fleming At a White House ceremony last July, President Obama awarded Renée Fleming the National Medal of Arts, America’s highest honor for an individual artist. Known as “the people’s diva,” she continues to grace the world’s greatest opera stages and concert halls, now extending her reach to include other musical forms and media, hosting the Metropolitan Opera’s “Live in HD” series for movie theaters and television, as well as PBS’s “Live From Lincoln Center.” She has performed at the 2006 Nobel Peace Prize ceremony, in Beijing during the 2008 Olympic Games, in the 2012 Diamond Jubilee Concert for Queen Elizabeth II, and in the January 2009 televised inaugural concert for President Obama. Ms. Fleming has also performed for the United States Supreme Court and, in November 2009, celebrated the 20th anniversary of the Czech Republic’s “Velvet Revolution” at the invitation of Václav Havel. In 2008 Ms. Fleming became the first woman in the 125-year history of the Metropolitan Opera to headline an opening night gala. The 2013-14 season has included her acclaimed portrayal of the title character in Dvoˇrák’s Rusalka at the Metropolitan Opera; the title role of Strauss’s Arabella at the Salzburg Easter Festival; the Los Angeles Opera debut of her Blanche in Previn’s A Streetcar Named Desire, a role she created in the world premiere; opening the Houston Symphony Orchestra’s centennial season; concerts in Nashville, Ottawa, and Dallas; “American Voices,” a concert and three-day festival at the John F. Kennedy Center for the Perform- ing Arts, and New Year’s Eve concerts in Dresden. Other recent and upcoming engagements include recitals in Pittsburgh, Tucson, Las Vegas, Mesa (Arizona), and St. Louis; a duo-concert with tenor Jonas Kaufmann at Lyric Opera of Chicago; and a concert with tenor Michael Schade and the Dresden Philharmonic in Abu Dhabi. A four-time Grammy winner, Ms. Fleming won a 2013 Grammy Award for “Poèmes” (Decca), a collection of 20th-century French music, including works composed for her by Henri Dutilleux. In June 2010 Decca and Mercury records released the CD “Dark Hope,” covers of songs by indie-rock and pop artists. Recent DVDs include Ariadne auf Naxos, Handel’s Rodelinda, Thaïs, Rossini’s Armida, La traviata, and “Renée Fleming & Dmitri Hvorostovsky: A Musical Odyssey in St. Petersburg.” In recent years, Ms. Fleming has recorded everything from Strauss’s complete Daphne to the jazz album “Haunted Heart” to the movie soundtrack of The Lord of the Rings: The Return of the King. She recorded Alexandre Desplat’s theme song, “Still Dream,” for the animated feature Rise of the Guardians. Her recording honors range from the 2009 Echo Award for Strauss’s Four Last Songs to the Prix Maria Callas Orphée d’Or by the Académie du Disque Lyric for TDK’s DVD of Capriccio. In February 2012 Ms. Fleming received the Victoire d’Honneur, the highest award of the French Victoires de la Musique. Prominent artists such as Chuck Close, Robert Wilson, and Francesco Clemente have created portraits of her. Photographic portraits include works by Brigitte Lacombe, Annie Leibovitz, and Irving Penn, among others. A champion of new music, she has performed recent works by Henri Dutilleux, Brad Mehldau, André Previn, and Wayne Shorter. Among her numerous awards are the Fulbright Lifetime Achievement Medal, Sweden’s Polar Prize, the Chevalier de la Légion d’Honneur from the French government, honorary membership in the Royal Academy of Music, and honorary doctorates from Carnegie Mellon University, the Eastman School of Music, and the Juilliard School, where she was also commencement speaker. An advocate for literacy, Renée Fleming has been featured in promotional campaigns for the Association of American Publishers and the Magazine Publishers of America. Her book The Inner Voice is an intimate account of her career and creative process. In 2008 she launched “La Voce by Renée Fleming,” a fra- grance designed for her, with the proceeds benefiting the Metropolitan Opera. Master

TANGLEWOODWEEK 1 GUESTARTISTS 11 Chef Daniel Boulud has created the dessert “La Diva Renée” in her honor, and she has inspired the “Renée Fleming Iris,” which has been replicated in porcelain by Boehm. She is on Mr. Blackwell’s “best-dressed” list, and her concert gowns have been designed by Reem Acra, Gianfranco Ferré, John Galliano for Dior, Douglas Hannant, Christian Lacroix, Oscar de la Renta, Angel Sanchez, and Vivienne Westwood. Ms. Fleming is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope, and the Advisory Board of the White Nights Foundation of America. Named the first-ever Creative Consultant at Lyric Opera of Chicago in 2010, she is also a member of the Board and a vice-president, and is curating the creation of an opera based on the best-seller Bel Canto for Lyric Opera’s 2015-16 season. Renée Fleming made her Boston Symphony Orchestra debut in July 1991 at Tanglewood, as Ilia in a concert performance of Mozart’s Idomeneo led by Seiji Ozawa. Her BSO subscription debut was in December 1998, in Haydn’s The Creation with James Levine conducting, since which time she has also appeared with the orchestra to sing Strauss’s Four Last Songs (at Tanglewood in 2003, and again in February 2010 at Symphony Hall, her most recent BSO appearances); a wide-ranging program of opera arias and other numbers (Tanglewood 2004); and Barber’s Knoxville: Summer of 1915 and music of Gershwin (in September 2006, to open the BSO’s 2006-07 Symphony Hall season). She has also been heard in recital in Tanglewood’s Seiji Ozawa Hall and, in 2008 at Tanglewood, as Tatyana in a concert performance of Tchaikovsky’s Eugene Onegin with Sir Andrew Davis conducting the Tanglewood Music Center Orchestra.

William Eddins Making his Boston Symphony debut this evening, William Eddins is music director of the Edmonton Symphony Orchestra and a frequent guest conductor of major orchestras throughout the world. From 2001 to 2006 he was principal guest conductor of the RTÉ National Symphony Orchestra in Ireland. Previous engagements have taken him to the New York Philharmonic, St. Louis Symphony, Philadelphia Orchestra, and the symphony orchestras of San Francisco, Minnesota, Cincinnati, Atlanta, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, and Houston, as well as the Los Angeles Philharmonic and Buffalo Philharmonic. Internationally Mr. Eddins has conducted the Berlin Staatskapelle, Berlin Radio Orchestra, Welsh National Opera, Royal Scottish National Orchestra, Bergen Philharmonic, Adelaide Symphony Orchestra (Australia), Barcelona Symphony Orchestra, and the Lisbon Metropolitan Orchestra. He recently led the Natal Philharmonic on a tour of South Africa with soprano Renée Fleming. As music director, he led the Edmonton Symphony Orchestra in a 2012 Carnegie Hall concert as part of the “Spring for Music” festival. Other recent highlights include conducting the RAI Orchestra Sinfonica Nazionale on Italian television and leading Gershwin’s Porgy and Bess with Opéra de Lyon. In 2015 he will conduct Porgy and Bess at the Spoleto Festival, as well as Mozart’s Magic Flute with Edmonton Opera. Also an accomplished pianist and chamber musician, Mr. Eddins regularly appears as conductor/piano soloist in works by Mozart, Beethoven, Gershwin, and Ravel. He has released a recording on his own label that includes Beethoven’s Hammerklavier Sonata and William Albright’s The Nightmare Fantasy Rag. Mr. Eddins has performed at the Ravinia Festival with both the Chicago Symphony Orchestra and the Ravinia Festival Orchestra. He has also conducted the orchestras of the Aspen Music Festival, the Hollywood Bowl, the Boston University Tanglewood Institute, and the Civic Orchestra of Chicago. A native of Buffalo, New York, and born in December 1964, William Eddins attended the Eastman School of Music, studying with David Effron and graduating at age eighteen, making him the youngest graduate in the history of the institution. Previous positions include resident conductor of the Chicago Symphony Orchestra and associate conductor of the Minnesota Orchestra.

12 Rob Fisher Internationally distinguished artistic director, conductor, and pianist Rob Fisher is a leading figure in American music and musical theater. He was founding music director and conductor until 2005 of Encores! at New York City Center, a series that earned a 2000 Tony Award. In 1997 Mr. Fisher was awarded the Lucille Lortel Award for Outstanding Special Achievement for his work on Encores!, and he conducted the series’ Grammy Award-winning Chicago cast album. Last season he served as music supervisor of the Tony-winning Broadway revival of Anything Goes, and in April 2012 he conducted a one-night gala performance of The Sound of Music at Carnegie Hall. Mr. Fisher has been producer/music director of Lincoln Center’s American Songbook Series’ tributes to Gershwin, Porter, and Bernstein. Recent collaborations have included performances with such artists as Kristin Chenoweth, Kelli O’Hara, Idina Menzel, and David Hyde Pierce. Within the past decade, Mr. Fisher has been a guest conductor or pianist with virtually every major orchestra in the United States. In 2007 he led My Fair Lady with the New York Philharmonic, and he most recently appeared with the Philharmonic in October 2012, conducting Mr. Keillor at 70 with Garrison Keillor. Mr. Fisher was music director and conductor for “Ira at 100,” a gala concert at Carnegie Hall broadcast on PBS’s Great Performances, and he appeared twice on the PBS series In Performance at the White House for President and Mrs. Clinton. For four seasons Mr. Fisher was music director for Garrison Keillor’s American Radio Company, and he remains a frequent guest on A Prairie Home Companion. This evening’s concert marks his debut appearance with the Boston Symphony Orchestra.

TANGLEWOODWEEK 1 GUESTARTISTS 13 The Cynthia and Oliver Curme Concert Sunday, July 6, 2014 The performance on Sunday afternoon is supported by a generous gift from Great Benefactors Cynthia and Oliver Curme. Cindy and Ollie are true champions of the Boston Symphony Orchestra both in Boston and the Berkshires. They are longtime concertgoers who have been a part of the BSO family for thirty years. Both Cindy and Ollie are passionate advocates for music and arts education, and they are musicians themselves. Cindy, who is a classically trained pianist, worked at the Symphony as part of the administration from 1984 to 1995, and she later served as a volunteer. Cindy was elected to the BSO Board of Overseers in 2003 and the Board of Trustees in 2005. She is extremely active in her role as a Trustee, serving on numerous board committees, including the Executive Committee, Overseers Nominating Committee, Leadership Gifts Committee, Strategic Planning Committee, and Tanglewood Task Force. In addition, Cindy serves as chair of the Tanglewood Strategic Planning Committee and Engagement Committee, and she is a co-chair of the BSO’s Beyond Measure Campaign. She has also served on many Opening Night gala committees at Tanglewood and Symphony Hall. Cindy and Ollie were co-chairs for the 2010 Opening Night at Tanglewood and 2005 Opening Night at Symphony. Ollie serves on the BSO’s Technology and Media Committee. In addition to her involvement here at the BSO, Cindy has been involved with several arts organizations, including serving as a trustee of the Boston Conservatory and the Terezín Music Foundation, and as an overseer of From the Top. Ollie, who most recently served as a senior advisor at Battery Ventures, studied several instruments as a child, and continued into adulthood. Together, they share their commitment to music with their three sons, all of whom studied music. The Curmes are early supporters of the Tanglewood Forever Fund, and they were leading supporters of the Artistic Initiative and the Immediate Impact Fund. Longtime donors to the BSO Annual Funds, Cindy and Ollie are members of the Koussevitzky Society at the Virtuoso level, the Higginson Society at the Encore level, and the Fiedler Society at the Benefactor level. They are full Fellowship sponsors through their support of the Tanglewood Music Center.

14 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, July 6, 2:30pm THE CYNTHIA AND OLIVER CURME CONCERT

ASHER FISCH conducting

BRAHMS Piano Concerto No. 2 in B-flat, Opus 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso GARRICK OHLSSON

{Intermission}

LISZT “Les Préludes,” Symphonic poem, after Lamartine

WAGNER Excerpts from “Die Meistersinger von Nürnberg” Prelude to Act III Dance of the Apprentices Prelude to Act I

TANGLEWOODWEEK 1 SUNDAYPROGRAM 15 NOTES ON THE PROGRAM

Johannes Brahms (1833-1897) Piano Concerto No. 2 in B-flat, Opus 83 First public performance: November 9, 1881, Budapest National Theater Orchestra, Alexander Erkel cond., Brahms, piano. First BSO performance: March 15, 1884, Georg Henschel cond., B.J. Lang, piano. First Tanglewood performance: August 9, 1941, Serge Koussevitzky cond., Leonard Shure, piano. Most recent Tanglewood performance: August 4, 2012, Christoph von Dohnányi cond., Yefim Bronfman, soloist. “... and a second one will sound very different,” wrote Brahms to Joseph Joachim, rendering a report on the disastrous reception in Leipzig of his First Piano Concerto. More than twenty years would pass before there was “a second one.” They were full years. Brahms had settled in Vienna and given up conducting and playing the piano as regular activities and sources of livelihood. Belly and beard date from those years (“clean-shaven they take you for an actor or a priest,” he said). The compositions of the two decades include the variations on themes by Handel, Paganini, and Haydn; the string quartets and piano quartets (three of each), as well as both string sextets, the piano quintet, and the horn trio; a cello sonata and one for violin; the ﬁrst two symphonies and the Violin Concerto; and, along with over a hundred songs and shorter choral pieces, a series of large-scale vocal works including the German Requiem, the Alto Rhapsody, the Song of Destiny, and Nänie. He was resigned to bachelor- hood and to never composing an opera. He had even come to terms with the fact that at the beginning of the century there had been a giant called Beethoven whose thunderous footsteps made life terribly difﬁcult for later composers. To the young Brahms, Beethoven had been inspiration and model, but also a source

of daunting inhibition. Fully aware of what he was doing and what it meant, Brahms waited until his forties before he sent into the world any string quartets or a first symphony, both being genres peculiarly associated with Beethoven. In sum, the Brahms of the Second Piano Concerto was a master, confident and altogether mature. For the University of Breslau to call him “artis musicae severioris in Germania nunc princeps” in its honorary degree citation of 1879 was to take a firm anti-Bayreuth political stand, but at least in that central and northern European musical world where opera was thought of as either transalpine triviality or as the province of that dangerous vulgarian Dr. Richard Wagner, the stature of Johannes Brahms was clearly perceived. In April 1878, Brahms made what was to be the first of nine journeys to Italy and Sicily. His companion was another bearded and overweight North German who had settled in Vienna, Theodor Billroth, an accomplished and knowledgeable amateur musician, and by profession a surgeon, a field in which he was even more unambigu- ously “princeps” than Brahms in his. Brahms returned elated and full of energy. His chief task for that summer was to complete his Violin Concerto for Joseph Joachim. He planned to include a scherzo, but dropped the idea at Joachim’s suggestion. He had, however, made sketches for such a movement after his return from the South, and he retrieved them three years later when they became the basis of the new piano concerto’s second movement. The year 1881 began with the first performances of the Academic Festival and Tragic overtures, and there were professional trips to Holland and Hungary as well as another Italian vacation. In memory of his friend, the painter Anselm Feuerbach, he made a setting of Schiller’s Nänie, and then set to work on the sketches that had been accumulating for the piano concerto. (By this time, Brahms had established a regular pattern for his year: concentrated compositional work was done during the summers in various Austrian or Swiss villages and small towns, each visited for two or three years in a row and then dropped, while winters were the season of sketches, proofreading, and concerts). On July 7 he reported to his friend Elisabet von Her- zogenberg, perhaps his closest musical confidante of those years, that he had finished a “tiny, tiny piano concerto with a tiny, tiny wisp of a scherzo.” Writing on the same day to the pianist Emma Engelmann, he is not quite so coy, though Billroth was sent his copy with a remark about “a bunch of little piano pieces.” The measure of Brahms’s sureness about the work is to be found in his singling it out for dedica- tion “to his dear friend and teacher Eduard Marxsen.” Marxsen, to whom Brahms had been sent by his first teacher, Otto Cossel, as a boy of seven, was born in 1806 and had studied with Carl Maria von Bocklet, the pianist who had played in the first performance of Schubert’s E-flat trio, and his orchestral version of Beethoven’s Kreutzer Sonata was widely performed in the nineteenth century. Brahms’s devotion lasted until the end of Marxsen’s life in 1887. The choice of the B-flat concerto as occasion for the long-delayed formal tribute to his master is surely significant: not only was the piano Marxsen’s instrument as well as his own, but Brahms must have felt that he had at last achieved what had eluded him in the wonderful D minor concerto, namely the perfect fusion of inspirational fire with that encompassing tech- nique whose foundations were laid in those long-ago lessons in Hamburg. It was the last work Brahms added to his repertory as a pianist, and for someone who had long given up regular practicing to get through it at all is amazing. After the premiere, Brahms took the work on an extensive tour of Germany with Hans von Bülow and the superb Meiningen Orchestra: Leipzig resisted once again, but elsewhere the reception was triumphant. People tended to find the first movement harder to grasp than the rest, and almost universally a new relationship between piano and orchestra was noted, phrases like “symphony with piano obbligato” being much bandied about. With respect to the latter question, it is mainly that Brahms

TANGLEWOODWEEK 1 SUNDAYPROGRAMNOTES 17 knew the concertos of Mozart and Beethoven better than his critics and was pre- pared to draw more imaginative and far-reaching conclusions from the subtle solo- tutti relationship propounded in those masterpieces of the classical style. Brahms begins by establishing the whole range of the solo’s capabilities. The piano enters with rhythmically cunning comment on the theme sung by the horn. This is poetic and reticent, though there is also something quietly assertive in the way the piano at once takes possession of five-and-a-half octaves from the lowest B-flat on the keyboard to the F above the treble staff. When, however, the woodwinds and then the strings continue in this lyric vein, the piano responds with a cadenza that silences the orchestra altogether. But this cadenza, massive and almost violent though it is, settles on a long dominant pedal and demonstrates that its “real” func- tion is to introduce, as dramatically as possible, an expansive and absolutely formal orchestral exposition. Perhaps the greatest moment, certainly the most mysterious and original, of this magisterial movement is the soft dawning of the recapitulation, the horn call and its extensions in the piano being now gently embedded in a con- tinuous and flowing texture, an effect that suggests that the opening of the movement should be played not as an introduction in a slower tempo, but as the real and organic beginning. When all this occurs, you remember the piano’s earlier eruption

18 into the cadenza, and the contrast now of the entirely lyrical continuation is the more poignant for that memory. One tends to think of this concerto as essentially declamatory and as the quintessential blockbuster, but the expression mark that occurs more often than any other is “dolce” (followed in frequency by “leggiero”!). Beethoven had to answer tiresome questions about why there were only two movements in his last piano sonata, and now Brahms was constantly asked to explain the presence of his “extra” Scherzerl. He told Billroth that the first movement appeared to him “too simple [and that] he required something strongly passionate before the equally simple Andante.” The answer half convinces: simplicity is not the issue as much as urgency and speed. Long-range harmonic strategy, particularly with respect to the Andante to come, must have had a lot to do with Brahms’s decision. The contrast, in any event, is welcome, and the movement, in which one can still sense the biting double-stops of Joachim’s violin, goes brilliantly. The first and second movements end in ways meant to produce the ovations they got at their early performances (and how priggish and anti-musical the present cus- tom that indiscriminately forbids such demonstrations between movements). From here on, Brahms reduces the scale of his utterance, trumpets and drums falling silent for the remainder of the concerto. The Andante begins with a long and famous cello solo,* which, like its oboe counterpart in the Adagio of the Violin Concerto, becomes increasingly and ever more subtly enmeshed in its surroundings (and thus less obviously soloistic). The piano does not undertake to compete with the cello as a singer of that kind of song. Its own melodies stand on either side of that style, being more embellished or more skeletal. The key is B-flat, the home key of the concerto and thus an uncommon choice for a slow movement, the most famous precedent being Brahms’s own earlier piano concerto, but the excursions within the piece are bold and remarkable in their effect. For an example, it is its placement in the distant key of F-sharp that gives the return of the cello solo its won- derfully soft radiance. The finale moves gently in that not-quite-fast gait that is so characteristic of Brahms. A touch of gypsy music passes now and again, and just before the end, which occurs without much ado, Brahms spikes the texture with triplets.

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

* Five years later Brahms found another beautiful continuation from the same melodic germ in the song “Immer leiser wird mein Schlummer.” BSO Archives

TANGLEWOODWEEK 1 SUNDAYPROGRAMNOTES 19

Franz Liszt (1811-1886) “Les Préludes,” Symphonic poem after Lamartine First performance: February 23, 1854, Weimar, Liszt cond. First BSO performance: December 10, 1881, Georg Henschel cond. Only previous Tanglewood performance by the BSO: August 12, 1979, Kazuhiro Koizumi cond. In the late 1840s, Liszt settled in Weimar and gave up the vagabond life of the international concert star to devote himself to composition and conducting. What he published as the third of his twelve symphonic poems was probably the earliest, of orchestral origins, if one considers that the thematic material was derived from his cantata Les Quatre Eléments (The Four Elements), produced at Marseilles in 1844. The words of the choral work, the movements of which depict “The Earth, The North Winds, The Floods, and The Stars,” were not satisfactory to the composer, who looked to Victor Hugo to write him a new text. Hugo, whose Ce qu’on entend sur la montagne furnished him with the subject for his first symphonic poem, did not take up any suggestions that may have been put forward. In 1849, while making a fair copy of Ce qu’on entend sur la montagne, he also brought out his earlier score and drafted a purely symphonic version. However, he laid it aside again. In 1854, wishing a new piece for a pension fund concert of the court orchestra at Weimar, Liszt turned once more to the incompleted symphonic poem, which perhaps at this time may have had its first association with the poem of his friend Alphonse Lamartine (1790-1869), the fifteenth number of the Méditations poétiques. It is probable that this symphonic poem underwent considerable remodel- ing when it acquired its final title and form. At the Weimar concert, Schumann’s

TANGLEWOODWEEK 1 SUNDAYPROGRAMNOTES 21 22 Fourth Symphony (published the previous year) was performed, the same composer’s Concertstück for four horns, and Liszt’s choral An die Künstler. A large success for each of Liszt’s new works was reported. That Les Préludes acquired its subject and title when the musical materials used were far from new can be scarcely disturbing when the nature of the poem, a philosophi- cal reflection rather than an explicit program, is considered. The following para- phrase, here translated from the French, was furnished by Liszt in his score: What is life but a series of preludes to that unknown song whose initial solemn note is tolled by Death? The enchanted dawn of every life is love; but where is the destiny on whose first delicious joys some storm does not break?—a storm whose deadly blast disperses youth’s illusions, whose fatal bolt consumes its altar. And what soul thus cruelly bruised, when the tempest rolls away, seeks not to rest its memories in the pleasant calm of rural life? Yet man allows himself not long to taste the kindly quiet which first attracted him to Nature’s lap; but when the trumpet gives the signal he hastens to danger’s post, whatever be the fight which draws him to its lists, that in the strife he may once more regain full knowledge of himself and all his strength. From the very beginning, Les Préludes established itself as the most popular of Liszt’s symphonic poems (that term having been chosen to suggest a literary inspiration), probably from its solid construction as much as from the specific expressive quality of its musical invention. Listeners of a certain age may have difficulty forgetting Flash Gordon or the Lone Ranger radio programs, both of which made use of material from this score as background music, but it is distinctly worth the effort to approach Liszt on his own terms as the music progresses with a gratifyingly tight construction, and the derivations of the principal theme develop no small degree of excitement.

JOHN N. BURK/STEVEN LEDBETTER John N. Burk, whose writings on music include biographies of Beethoven and Clara Schumann, was the Boston Symphony’s program annotator from 1934 until 1966. Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

TANGLEWOODWEEK 1 SUNDAYPROGRAMNOTES 23 Richard Wagner (1813-1883) Excerpts from “Die Meistersinger von Nürnberg” First performance of the opera: June 21, 1868, Munich, Hans von Bülow cond. (the Act I Prelude having already been conducted by Wagner on November 1, 1862, in Leipzig, composition of the opera having extended from March 1862 until his completion of the orchestral score in October 1867). First BSO performances of orchestral music from the opera: November 1881 (Act I Prelude) and February 1882 (Act III Prelude, Dance of the Apprentices, Procession of the Mastersingers, and Homage to Hans Sachs), Georg Henschel cond. First Berkshire Festival performance of music from the opera: August 16, 1936 (Act I Prelude), Serge Koussevitzky cond. First Tanglewood performance of music from the opera: August 12, 1939 (Act I Prelude), Koussevitzky cond. Most recent Tanglewood performance of music from the opera: July 19, 2013 (Act I Prelude), Vladimir Jurowski cond. Like Tristan und Isolde, the opera that immediately preceded it in Wagner’s output, Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) was written during the years following Wagner’s break from work on his massive Der Ring des Nibelungen. By the summer of 1857, hopes for the production of his Ring -in-progress were all but gone, and negotiations with his publishers were getting nowhere. There was no regular source of income, he had had no new work staged since the premiere of Lohengrin under Liszt at Weimar in 1850, and so it was obviously time for something more likely to be produced than the Ring. This he thought he had found in Tristan und Isolde. Even when this proved not to be the case, Wagner expressed naively similar sentiments as he turned to work on Die Meistersinger, assur- ing the publisher Schott that his next opera would be “light, popular, easy to pro-

24 duce,” requiring neither a great tenor nor “a great tragic soprano,” and well within the abilities of any small opera company. Once more, Wagner proved himself wrong. Die Meistersinger von Nürnberg is one of the longest operas in the repertory (and, like Tristan, it is hardly ever performed without cuts). It requires no fewer than seventeen solo performers, including a leading tenor and leading bass of remarkable stamina, and the ensembles that close the first two acts are among the most complex and difficult ever written. Considered in a very broad sense as something of a companion-piece to Tristan, the other major product of Wagner’s break from work on the Ring, Die Meistersinger reflects not only Wagner’s growth as a composer, but also his considerable versatility, his ability to employ contrasting musical vocabularies as called for by contrasting subject matter. The intense chromaticism of Tristan is perfectly suited to that work’s depiction of heightened longing, both physical and spiritual. Die Meistersinger, on the other hand, is full of down-to-earth humanity in its portrayal of characters, situa- tions, and emotions, and this work is written in a prevailingly direct diatonicism, embodied as much in the overture as it is throughout the opera. Wagner’s libretto, too, is for the most part much more straightforward in its approach to language than is his text for Tristan. And the subject matter will also have harmonized with Wagner’s own needs at the time. Just as Tristan und Isolde took inspiration from his passionate involvement with Mathilde Wesendonck, the wife of an important patron, so Die Meistersinger von Nürnberg mirrored a concern always close to the self-promoting Wagner’s heart: the need for (read his desire for) acceptance, by public and critics alike, of the New in art, particularly his own. In a nutshell, the story of Die Meistersinger—set in mid-16th-century Nuremberg—is this: the young knight Walther von Stolzing and Eva, daughter of the Mastersinger/ goldsmith Veit Pogner, are in love, but Pogner decrees that Eva can only marry a Mastersinger—and specifically the Mastersinger chosen as winner of the annual Con- test of Song held on the Feast Day of St. John the Baptist (June 24 by the Christian calendar), though Pogner does grant Eva veto power in this regard. Coached as to the Masters’ strict rules of singing by David, the young apprentice to the Mastersinger/ cobbler/philosopher/poet Hans Sachs, Walther attempts a trial run before an assemblage of the Mastersingers and their apprentices, but confounds everyone who hears him, leading to general havoc—although Sachs has sensed that there was something new and important to be heard in Walther’s song. The situation is further complicated by the fact that Sachs is himself secretly in love with Eva, even as she confides in him regarding her own hope of marrying Walther. (The other character whose name you might want to know is Magdalene, Eva’s companion, who is romantically linked to David and serves as occasional intermediary in getting mes- sages back and forth between Eva and Walther.) Following a complex sequence of comings, goings, and interactions on the part of everyone involved, the final (third) act of Die Meistersinger concludes with the St. John’s Day gathering of the townspeople on the meadow outside Nuremberg to witness the Contest of Song, in which Walther finally wins Eva’s hand. Then, when Walther, extremely put out by the difficulties he has faced in getting to this moment, disdain- fully refuses the title of “Master,” Sachs concludes the proceedings with an address on the importance of the tradition preserved in the Masters’ art, following which general rejoicing heralds Walther’s acceptance of his hard-won prize, the union of Walther and Eva, and the generosity and wisdom of “Nuremberg’s cherished Sachs.” The Prelude to Act III , which opens the opera’s final act, anticipates Hans Sachs’ musings (the so-called “Wahn Monologue” later in the act) on the events that have transpired thus far. As the late Boston University professor John Daverio once wrote

TANGLEWOODWEEK 1 SUNDAYPROGRAMNOTES 25 in these pages: “Not easily translatable in a single word, ‘Wahn’ is both the destruc- tive illusion that can bring on disorder and confusion, and the productive illusion necessary for the creation of lasting works of art.” Recognizing that he himself (the man who “heeds not his own advice”) has been a participant in the confused, some- times crazed proceedings of the past day, Sachs will resolve to turn the tide of activities from disorder and confusion to something more noble and artful—i.e., something that would not be possible without at least a touch of madness. The buoyant and lighthearted Dance of the Apprentices comes early in the final scene of Act III, as all gather on the meadow outside Nuremberg to witness the Contest of Song, including the Shoemakers’, Tailors’, and Bakers’ guilds, the apprentices, the townsfolk, and, finally, heralded by trumpets, the Mastersingers themselves, who will arrive to their theme music introduced much earlier, when it opened the Prelude to Act I. The Prelude to Act I (which Wagner called an “overture” until he wrote out the full score) is based upon a succession of musical ideas from the opera set out within the context of a self-contained musical structure—hence, “overture.” It begins with a sturdy C major theme associated with the guild of the Mastersingers, then continues, after a segment anticipating Walther von Stolzing’s prize-song, with the Mastersingers’ festive processional, which is extensively developed. The music winds down into a relaxed statement of the prize-song and then leads to a compressed version, for winds, in shorter note-values, of the opening theme of the Mastersingers’ guild. In this form the music represents the Masters’ apprentices; against this is juxtaposed a staccato string figure connected in the opera with the spectators at the third-act Contest of Song. An imposing reappearance of the “guild theme” leads to the return of the opening material, but with a difference: in a magical moment signaled by the first triangle stroke in the piece, the three principal themes—those of the guild, the prize-song, and the Mastersingers’ processional—are brought together contrapuntally in a musical texture of crystalline clarity and Mozartian balance.

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

Guest Artists

Asher Fisch In March 2014, Israeli conductor Asher Fisch became principal conductor and artistic advisor of the West Australian Symphony Orchestra in Perth, his first chief artistic position with a symphony orchestra. Mr. Fisch is currently principal guest conductor of the Seattle Opera, where he conducted its quadrennial production of Wagner’s Ring cycle in summer 2013; his former posts include music director of the New Israeli Opera (1998-2008) and the Wiener Volksoper (1995-2000). He is particularly noted for the core German and Italian repertoire (in particular Wagner, Brahms, Strauss, and Verdi), also conducts repertoire from Gluck to contemporary works, and serves as an advocate of such composers as Avner Dorman and others. He has a long association with the Bayerische Staatsoper (Munich) and in the 2013-14 season conducted a new Martin Kušej production of Verdi’s La forza del destino, as well as Parsifal, Salome, Ariadne auf Naxos, La bohème, and Turandot. He also led Tristan und Isolde at Dresden Semperoper (Sächsische Staatsoper). Mr. Fisch began his WASO tenure with a Mozart-Strauss-Wagner program (in which he was also the soloist in Mozart’s D minor piano concerto, K.466) as well as a complete

TANGLEWOODWEEK 1 GUESTARTISTS 27 Beethoven symphony cycle. He participated in the 2013 Melbourne Festival “Brahms vs. Wagner” program, leading an all-Wagner program with the Melbourne Symphony Orchestra, performing in a recital of Brahms-Wagner Lieder with mezzo-soprano Stefanie Irányi, and also participating in symposia on the topic. Other 2013-14 highlights include concerts with the Munich Philharmonic, Stuttgart Radio Symphony Orchestra, National Orchestra of Belgium, Aarhus Symphony Orchestra (Denmark), and a tour in Italy with the Orchestra della Toscana. In North America, he conducts the Cincinnati Symphony Orchestra with cellist Alisa Weilerstein and the Milwaukee Symphony Orchestra. Asher Fisch began his conducting career as Daniel Barenboim’s assistant and Kappellmeister at the Berlin Staatsoper. Since then he has developed enduring relationships internationally. In North America he has conducted the symphony orchestras of Boston, Chicago, New York, Philadelphia, Los Angeles, Dallas, Seattle, Atlanta, Cincinnati, Houston, St. Louis, Toronto, Montreal, Minnesota, and the National Symphony in Washington, D.C. In Europe he appears regularly at the Munich Philharmonic and Staatskapelle Dresden, and has also conducted the Berlin Philharmonic, the London Philharmonic, Leipzig’s Gewandhaus Orchestra, and Orchestre National de France, among others. Since his 1995 United States debut at the Los Angeles Opera, he has conducted at the Metropolitan Opera (Rigoletto and Parsifal ), Lyric Opera of Chicago, Houston Grand Opera, and San Francisco Opera. He has conducted at all the major German and Austrian opera houses, including Berlin, Munich, Dresden, Leipzig, and Vienna; Milan’s Teatro alla Scala, the Paris Opera, and the Royal Opera House, Covent Garden. His Australian debut came in 2005 at State Opera of South Australia with Wagner’s Ring cycle, which won ten Helpmann Awards, Australia’s premier music prize. A live recording of this production was subsequently released to rave reviews. Also an accomplished pianist, Mr. Fisch released his first solo disc, Wagner piano transcriptions, in 2012 (Melba). He often conducts from the keyboard and also participates in chamber music and vocal recitals. Asher Fisch made his Boston Symphony Orchestra debut in July 2012 at Tanglewood, replicating the BSO’s Tanglewood program of August 12, 1937, as part of Tanglewood’s 75th Anniversary Season. He will make his subscription series debut with the orchestra in January 2015, leading music of the Israeli-born composer Avner Dorman, Prokofiev, and Schumann.

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28 Garrick Ohlsson Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide for both his interpretive and technical skills. Though long regarded as one of the world’s leading exponents of Chopin, he commands an enormous repertoire, including some eighty concertos. Mr. Ohlsson’s 2013-14 season included recitals in Montreal, Philadelphia, San Francisco, Los Angeles, Seattle, and Kansas City, culminating in February at Carnegie Hall, and return appearances with the orchestras of Boston (for Lutosławski’s Piano Concerto), Los Angeles, San Francisco, Atlanta, and Cleve- land. Performances outside North America include Stockholm (Sweden), São Paolo (Brazil), and Hong Kong (China), in addition to a Dvoˇrák project with the Budapest Festival Orchestra and Iván Fischer. Honoring the bicentenary of Franz Liszt’s birth, Mr. Ohlsson’s 2011-12 season included recitals of music by Liszt in Chicago, Hong Kong, London, and New York, where he also appeared at Carnegie Hall with the Atlanta Symphony and at Lincoln Center with the New York Philharmonic. A season earlier, marking the bicentenary of Chopin’s birth, he played a series of all-Chopin recitals in Seattle, Berkeley, and La Jolla, culminating at Lincoln Center. In conjunction with that project, a documentary, “The Art of Chopin,” was released in autumn 2010, followed by a DVD of the two Chopin concertos. In summer 2010 he was featured in all-Chopin programs at Ravinia and Tanglewood, as well as appearances in Taipei, Beijing, Melbourne, and Sydney. Also an avid chamber musician, he has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, he can be heard on Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics. His ten-disc set of the complete Beethoven sonatas (Bridge Records) has garnered critical acclaim, as well as a Grammy for volume three. Recent releases include a Hyperion disc of all the Brahms piano variations, Enrique Granados’s Goyescas, music of Charles Tomlinson Griffes, and, on Bridge Records, “Close Connections” (a recital of 20th-century pieces) and works of Liszt. A native of White Plains, New York, Garrick Ohlsson began his piano studies at eight, attended the Westchester Conservatory of Music, and entered the Juilliard School at thirteen. His musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. Although he won first prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. He was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from Northwestern University’s Bienen School of Music. Garrick Ohlsson made his Boston Symphony debut at Tangle- wood in August 1971 and his BSO subscription series debut in January 1981. He has since been a frequent guest with the orchestra, most recently at Tanglewood in July 2013 performing Prokofiev’s Piano Concerto No. 3, and as soloist in subscription performances of Lutosławski’s Concerto for Piano and Orchestra in January 2014. His BSO appearances have also encompassed concertos by Barber, Bartók, Beethoven, Brahms, Chopin, Copland, Grieg, Mozart, Rachmaninoff, Schumann, Tchaikovsky, and Viktor Ullmann. He has also appeared at Tanglewood in recital, and with the Tanglewood Music Center Orchestra.

TANGLEWOODWEEK 1 GUESTARTISTS 29 Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

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

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Dr Lynne B Harrison • Susie and Stuart Hirshﬁeld • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

30 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Mr. David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Gerard O’Halloran • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Mr. Gerald Appelstein • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garﬁeld • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 1 SOCIETYGIVINGATTANGLEWOOD 31 Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Mr. and Mrs. Nelson I. Fishman • Betty and Jack Fontaine • Herb and Barbara Franklin • Thomas M. Fynan, M.D. • Mr. and Mrs. Jeffrey Garber • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Mr. Chaim and Dr. Shulamit Katzman • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased Stu Rosner

July at Tanglewood

Tuesday, July 1, 8pm Friday, July 11, 8:30pm BOSTON SYMPHONY CHAMBER PLAYERS BSO—ANDRIS NELSONS, conductor Music of Wyner, Debussy, and Schubert ANNE-SOPHIE MUTTER, violin ˇ Thursday, July 3, 8pm and ALL-DVORÁK PROGRAM Friday, July 4, 8pm The Noonday Witch; Violin Concerto; Symphony No. 8 JAMES TAYLOR AT TANGLEWOOD Saturday, July 12, 10:30am Saturday, July 5, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO/ TMCO program of Saturday, July 12) BSO program of Sunday, July 6 Saturday, July 12, 8:30pm Saturday, July 5, 8:30pm Tanglewood Gala Opening Night at Tanglewood BOSTON SYMPHONY ORCHESTRA BSO—WILLIAM EDDINS & ROB FISHER, TMC ORCHESTRA (Strauss) conductors ANDRIS NELSONS, conductor RENÉE FLEMING, soprano SOPHIE BEVAN, ANGELA DENOKE, and Orchestral selections by SCHWANTNER, ISABEL LEONARD, vocal soloists COPLAND, and ADAMS STRAUSS Suite and Final Scene from BARBER Knoxville: Summer of 1915, for Der Rosenkavalier soprano and orchestra RACHMANINOFF Symphonic Dances Music for the Broadway stage by RODGERS & RAVEL Bolero HAMMERSTEIN and the GERSHWINS Sunday, July 13, 2:30pm Sunday, July 6, 2:30pm BOSTON POPS ORCHESTRA BSO—ASHER FISCH, conductor KEITH LOCKHART, conductor GARRICK OHLSSON, piano JASON ALEXANDER, vocalist BRAHMS Piano Concerto No. 2 LISZT Les Préludes Tuesday, July 15, 8pm WAGNER Excerpts from Die Meistersinger SEQUENTIA ENSEMBLE FOR MEDIEVAL MUSIC Sunday, July 6, 8pm BENJAMIN BAGBY, director TMC ORCHESTRA—STEFAN ASBURY and “Frankish Phantoms: Echoes from Carolingian TMC Fellow KARINA CANELLAKIS, Palaces”: exploring the musical world of conductors Charlemagne and his circle, through political Music of Hindemith and Bruckner and religious songs, laments, storytelling, and epic Wednesday, July 9, 8pm CHANTICLEER Wednesday, July 16, 8pm “She Said/He Said”: a program reflecting THOMAS HAMPSON, baritone “the complex and emotionally charged dia- WOLFRAM RIEGER, piano logue between the sexes, an eternal theme “Strauss and his World”: celebrating the 150th for composers” anniversary of Richard Strauss’s birth Lieder of Strauss, Webern, Zemlinsky, Alma Thursday, July 10, 7:30pm Mahler, Schoenberg, and Gustav Mahler EMERSON STRING QUARTET Shostakovich quartets 11, 12, 13, 14, and 15 Friday, July 18, 6pm (Prelude Concert) Extended concert with two intermissions MEMBERS OF THE BSO Music of Brahms and Piazzolla Friday, July 11, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 18, 8:30pm Music of Suk, Domažlický, Kalabis, and BSO—CHRISTOPH VON DOHNÁNYI, Janáˇcek conductor THOMAS HAMPSON, baritone STRAUSS Till Eulenspiegel’s Merry Pranks COPLAND Selection of Old American Songs BEETHOVEN Symphony No. 7

Saturday, July 19, 10:30am Saturday, July 26, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 20 BSO program of Sunday, July 27)

Saturday, July 19, 8:30pm Saturday, July 26, 8:30pm BSO—ANDRIS NELSONS, conductor BSO—CHRISTOPH VON DOHNÁNYI, HÅKAN HARDENBERGER, trumpet conductor BRAHMS Symphony No. 3 CAMILLA TILLING, soprano MARTINSSON Bridge, Trumpet Concerto No. 1 SARAH CONNOLLY, mezzo-soprano TCHAIKOVSKY Capriccio italien TANGLEWOOD FESTIVAL CHORUS MAHLER Symphony No. 2, Resurrection Sunday, July 20, 2:30pm BSO—ANDRIS NELSONS, conductor Sunday, July 27, 2:30pm JOSHUA BELL, vioilin The Serge and Olga Koussevitzky Memorial Concert ROUSE Rapture BSO—JACQUES LACOMBE, conductor LALO Symphonie espagnole, for violin and orchestra GABRIELA MONTERO, piano BEETHOVEN Symphony No. 5 MARJORIE OWENS, ELIZABETH BISHOP, ISSACHAH SAVAGE, STEPHEN POWELL, Wednesday, July 23, 8pm MORRIS ROBINSON, and JULIEN ROBBINS, vocal soloists THE KNIGHTS TANGLEWOOD FESTIVAL CHORUS DAWN UPSHAW, soprano HÅKAN HARDENBERGER, trumpet RACHMANINOFF Piano Concerto No. 2 Music of Ligeti, Ljova, Stravinsky, and VERDI Overture and Va, pensiero (Chorus Schneider, plus arrangements for trumpet of the Hebrew Slaves) from Nabucco; Finale and ensemble of songs by Joni Mitchell, (Triumphal Scene) of Aida, Act II Weill, Legrand, Piazzolla, and others Monday, July 28, 8pm Thursday, July 24, 8pm TMC ORCHESTRA—MARCELO NATIONAL YOUTH ORCHESTRA LEHNINGER and TMC Fellows DANIEL OF THE USA COHEN and KARINA CANELLAKIS, DAVID ROBERTSON, conductor conductors GIL SHAHAM, violin TMC Fellows LAURA STRICKLING and LORALEE SONGER, vocal soloists Music of Bernstein, Britten, Samuel Adams, and Mussorgsky/Ravel Music of Beethoven and Sibelius Thursday, July 31, 8pm Friday, July 25, 6pm (Prelude Concert) BRASS PLAYERS OF THE BSO CHAMBER ENSEMBLE FROM THE BOSTON LYRIC OPERA ORCHESTRA HÅKAN HARDENBERGER, trumpet DAVID ANGUS, conductor Music of Gabrieli, Viñao, Debussy, and Ravel CHRISTOPHER ALDEN, stage director Friday, July 25, 8:30pm ANDREW HOLLAND, set designer TERESE WADDEN, costume designer BSO—CHRISTOPH VON DOHNÁNYI, ALLEN HAHN, lighting designer conductor JASON ALLEN, wigs and makeup designer PAUL LEWIS, piano HEATHER JOHNSON, CHELSEA BASLER, BEETHOVEN Overture to The Creatures of CAROLINE WORRA, OMAR NAJMI, DAVID Prometheus MCFERRIN, and DANIEL MOBBS, vocal MOZART Piano Concerto No. 12 in A, K.414 soloists MENDELSSOHN Symphony No. 4, Italian MEMBERS OF VOICES BOSTON, ANDY ICOCHEA ICOCHEA, artistic director BEESON Lizzie Borden, Chamber version in seven scenes without intermission Fully staged, sung in English with supertitles

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician

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

Business Office

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

Development

Joseph Chart, Director of Major Gifts • 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 Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

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

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

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

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

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

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill - Engineers, Architects, Planners, Inc. • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru - Hyundai Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn • The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

Two and One Half Million

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

One Million

Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan Pierce • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall