Summer 2014 Boston Symphony Orchestra

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 originally 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 seven- teen 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 standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its 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

Friday, July 25, 6pm (Prelude Concert) 2 BOSTON SYMPHONY ORCHESTRA BRASS AND PERCUSSION HÅKAN HARDENBERGER, trumpet Music of Gabrieli, Scelsi, Debussy, and Ravel

Friday, July 25, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA MANFRED HONECK conducting; PAUL LEWIS, piano Music of Beethoven, Mozart, and Mendelssohn

Saturday, July 26, 8:30pm 19 BOSTON SYMPHONY ORCHESTRA MANFRED HONECK conducting; CAMILLA TILLING and SARAH CONNOLLY, vocal soloists; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Mahler Symphony No. 2

Sunday, July 27, 2:30pm 36 BOSTON SYMPHONY ORCHESTRA JACQUES LACOMBE conducting; GABRIELA MONTERO, piano; TANGLEWOOD FESTIVAL CHORUS Music of Rachmaninoff and Verdi

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 25, are scheduled to include mezzo-soprano Sarah Connolly and conductor Jacques Lacombe. 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

TANGLEWOODWEEK 4 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, July 25, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ARLENE AND JEROME LEVINE CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA JAMES SOMMERVILLE, RICHARD SEBRING, RACHEL CHILDERS, MICHAEL WINTER, JASON SNIDER, and JONATHAN MENKIS, horns THOMAS ROLFS, BENJAMIN WRIGHT, THOMAS SIDERS, and MICHAEL MARTIN, trumpets BENJAMIN WRIGHT, posthorn TOBY OFT and STEPHEN LANGE, trombones JAMES MARKEY, bass trombone MIKE ROYLANCE, tuba J. WILLIAM HUDGINS, DANIEL BAUCH, and KYLE BRIGHTWELL, percussion

Special guest HÅKAN HARDENBERGER, trumpet (solo trumpet in Ravel) JAMES SOMMERVILLE, conductor (Gabrieli) MARCELO LEHNINGER, conductor (Ravel)

with RICHARD FLANAGAN and MILES SALERNI, percussion DON DAVIS, euphonium

and FELLOWS OF THE TANGLEWOOD MUSIC CENTER TRISTAN CLARKE, GEORGE GOAD, MARK GRISEZ, and ANSEL NORRIS, trumpets ZACHARY GUILES and JOSEPH PETERSON, trombones SCOTT HARTMAN, bass trombone ANDREW ABEL, tuba TOMASZ KOWALCZYK, percussion

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic 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.

2 G. GABRIELI Canzon per sonar primi toni Sancta Maria, for posthorn and trombones Canzon per sonar septimi toni No. 2

JAMES SOMMERVILLE conducting

SCELSI Ritual March, “The Funeral of Achilles,” for percussion

DEBUSSY “Trois Chansons de Charles d’Orleans,” arranged by Michael Levin Dieu! Qu’il la fait bon regarder! Quand j’ay ouy le tabourin Yver, vous n’estes qu’un vilain

RAVEL “Daphnis et Chloé,” Suite No. 2, arranged by Michael Martin for large brass ensemble and percussion, “for Håkan Hardenberger, Andris Nelsons, and the BSO Brass”

MARCELO LEHNINGER conducting

NOTES ON THE PROGRAM

“Never had a city a more glorious Bible” was British art critic John Ruskin’s verdict on the famous Basilica di San Marco, whose scintillating mosaics, golden vaults, and glittering altarpieces made it the foremost icon of Renaissance Venetian prestige and prosperity. Nothing but the most magnificent trappings could possibly be worthy of such opulence, a rule that extended to liturgical music no less than the holy relics: only strains of the utmost brilliance and grandeur could possibly fit the bill. Enter Giovanni Gabrieli (c.1554/7-1612), who inherited the position of principal organist at San Marco’s in 1585, with chief composer duties following in quick succession. As the cathedral administration put it, his charge was “to perform music in the organ lofts at such times as the Most Serene Prince and the Most Serene Signoria come to church.” That the Basilica’s lofts were specifically invoked is no coincidence, as Gabrieli’s work was tied to space and place like few other composers in history. The most celebrated practitioner of what became known as the Venetian polychoral style,

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

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 3 he wrote music explicitly tailored to the acoustical properties of the Basilica, which was so resonant as to render sounds from each of the widely spaced choir lofts impossible to synchronize. Following on from his predecessors, who made a virtue of the cori spezzati (“separated choirs”), Gabrieli’s workaround was to entrust each vocal-instrumental ensemble with an independent part, often with contrasting musical characters. The result was an intricate web of call-and-response (the technical term is “antiphony”) frequently likened to surround-sound. Gabrieli was arguably the first composer to intuit some of the potential of purely instrumental music, and when performed on the brass instruments of his day, cornetts and sackbutts, the resulting clarion wall of sound was, in the words of one oft-cited observer, “so good, so delectable, so rare, so admirable, so super-excellent, that it did even ravish and stupifie [sic] all those strangers that never heard the like.” Tonight’s selections were first published in the all-Gabrieli collection of 1597, Sacræ Symphoniæ. Of these, the Canzon per sonar septimi toni No. 2 most clearly typifies the back-and-forth spirit of antiphonal dialogue, while in the lilting Canzon per sonar primi toni, the instrumental interchange is rather less compartmentalized. It features one of Gabrieli’s favorite rhythmic tricks, a gear change from duple to triple time. The motet Sancta Maria, succurre miseris is the subtlest of all, its quietly undulating counterpoint projecting the sung text’s consoling sentiments (“Holy Mary, be thou a help to the helpless, strength to the fearful, comfort to the sorrowful”). One of the most mysterious, mystical, and mystifying of all composers, Giacinto Scelsi (1905-1988) seems impossible to talk about without recourse to superlatives. The final, childless offshoot of one of Italy’s most august noble families, Scelsi became notorious after his death for his unorthodox working methods: improvising in what he outlined as “a state of lucid passivity,” he left the task of transcribing and notating his unscripted recordings to assistants, most notably the composer Vieri Tosatti, who proclaimed in 1989 that “Giacinto Scelsi c’est moi” (“Giacinto Scelsi is me”). No matter the exact division of labor, however, the works published under Scelsi’s name are among the 20th century’s most visionary, taking the ideas of the French Impressionists to their logical conclusion by zooming in, microscope-like, on the timbres of individual pitches. I funerali di Achille: Marcia rituale is one of a set of three Riti (“Rites”), the others devoted to the last offices of Alexander the Great and Charlemagne. It is surely not by chance that the burial locations for all three figures are unknown, and that they each had posthumous cults (the Achilles cult centered on Romania’s Black Sea coast). The Odyssey describes Achilles’ funeral:

4 Troops of Greeks wept hot tears and cut their locks. Hearing the news, your mother, Thetis [a maritime goddess], rose from the sea, immortal sea-nymphs in her wake, and a strange unearthly cry came throbbing over the ocean. […] The Old Man of the Sea’s daughters gathered round you— wailing, heartsick—dressed you in ambrosial, deathless robes and the Muses, nine in all, voice-to-voice in choirs, their vibrant music rising, raised your dirge. With its somber, atavistic tread, I funerali di Achille summons something of this atmosphere, making doleful minstrels out of prosaic percussion instruments. Yet Scelsi, an adherent of esoteric wisdom and various non-Western religions who reckoned himself a medium for messages from the beyond, would not have been satisfied with merely depicting these funerary rites. For him, music was patently spiritual, in the sense that I funerali di Achille would have been the funerary rites. As Scelsi averred, “in one of the Upanishads it is said that if a god does not receive the right songs of praise, he vanishes.” I funerali di Achille is his stab at finding “the right song.” Because Claude Debussy (1862-1918) was such a voracious enthusiast of his contem- poraries’ poetry, regularly setting verse by Baudelaire, Mallarmé, and Verlaine, his rare turns to the wellspring of pre-19th-century literature always held special signifi- cance. Debussy’s only completed work for a cappella chorus, the Trois Chansons de Charles d’Orléans fall squarely into this category. It is hard not to project a patriotic intention onto his choice of texts: a successor to the French throne taken captive during the Battle of Agincourt, Charles was held prisoner from 1415 to 1440 in England, where he fashioned half a thousand poems touching on subjects like courtly love and his own confinement. Debussy looked to the music of Charles d’Orléans’ era for inspiration, in particular the vivid 16th-century chansons of Clément Janequin and Claudin de Sermisy. Ezra Pound spoke highly of the Trois Chansons, noting that as with Janequin “words have no great importance and are reduced in his choruses to non-articulated sounds.” Even in choral music, Debussy was singularly attentive to tone color. In a loose sense, Debussy can also be said to have preempted the post- war obsession with bygone musical styles, and not only on account of chronology— the reticent, patrician “Dieu! Qu’il la fait bon regarder!” (“God! but she is fair!”) and the caustic, capricious “Yver, vous n’estes qu’un vilain” (“Winter, you’re naught but a rogue”) were composed in 1898, with “Quant j’ai ouy le tabourin” (“When I heard the tambourine”) coming a decade later. Instead, he mines a much deeper past than is usually the case with what is understood by the term “neoclassicism,” and Michael Levin’s trombone quartet arrangement (here performed on three trombones and tuba) brings an extra layer of history to bear, positioning Debussy’s “antique” miniatures in the Gabrieli brass orbit. As BSO trombonist Toby Oft indi- cates, the arrangement is also rewarding for reinforcing the music’s rhythmic defini- tion, especially in the wistful May Day parade vignette of “Quant j’ai ouy le tabourin.” On the other hand, the fact that “the trombone is so close in range and timbre to the human voice” ensures that Debussy’s original conception is still respected. Unlike Scelsi, the mythological dalliances of Maurice Ravel (1875-1937) always came accompanied by a knowing wink. Commissioned in 1909 by Sergei Diaghilev’s Ballets Russes, who had just made their triumphant, trendsetting Parisian debut, Ravel’s Daphnis et Chloé was based loosely on the late Greek writer Longus’ story of the same name. In the event, Ravel’s “symphonie choréographique” and “vast musical fresco,” as he was alternately fond of billing it, was only premiered in 1912, and to a tepid reception at that. As with so many ballets, it was only in concert dress—Ravel’s two orchestral suites—that Daphnis first established a toehold in the

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 5 repertory. Of the two suites, the second has long been the more popular, spanning the entirety of the ballet’s final tableau (for this reason, the subtitle of the Suite No. 2, “fragments symphoniques,” is misleading). It consists of three sections of sharply differentiated character: a shimmering, iridescent sunrise scene, which provides a dazzling display of orchestral color; Daphnis and Chloé’s play-acting the tale of Pan and the nymph Syrinx, an origin myth for music whose amorous temperament paral- lels the teenaged pair’s own sexual awakening; and the tour-de-force Bacchanale, an orgiastic celebration of the lovers’ happy reunion. Daphnis et Chloé has been a Boston Symphony specialty ever since the days of Serge Koussevitzky and Charles Munch, and BSO trumpeter Michael Martin’s arrangement of the Suite No. 2, dedicated to “Håkan Hardenberger, Andris Nelsons, and the BSO Brass,” was expressly conceived with this in mind—to say nothing of the instrumental wizardry of Hardenberger, who is showcased here. Listeners familiar with Ravel’s original will be fascinated to hear his familiar orchestral colors translat- ed into brass and percussion: the sunrise episode offers a real technical challenge, obliging the brass to emulate the sustaining power of strings; Pan’s tune, one of the best-loved flute solos in the literature, is assigned to Hardenberger’s virtuosic trumpet; and the Bacchanale, in which conductors so often delight in “pushing the tempo to the edge of the impossible” (the comment is Gunther Schuller’s), only gains in frisson and frenzied brutality.

MATTHEW MENDEZ New York-based music critic and composer Matthew Mendez, recipient this summer of the Tanglewood Music Center’s Miriam H. and S. Sidney Stoneman Fellowship, is the 2014 TMC Publications Fellow.

Artists

Swedish trumpeter Håkan Hardenberger is esteemed for his performances of the classical repertory and as a pioneer of significant and virtuosic new trumpet works. Mr. Hardenberger performs with the world’s leading orchestras and conductors; works written for and championed by him include compositions by Sir Harrison

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6 Birtwistle, HK Gruber, Hans Werner Henze, Rolf Martinsson, Olga Neuwirth, Arvo Pärt, Mark-Anthony Turnage, and Rolf Wallin. Mr. Hardenberger’s extensive discography on the Philips, EMI, Deutsche Grammophon, and BIS labels includes his latest recording with the Academy of St. Martin in the Fields featuring new arrangements of popular film and pop melodies (BIS), a new Gruber and Schwertsik disc with the Swedish Chamber Orchestra (BIS), and his trumpet concerto CD with the Gothen- burg Symphony (DG). Conducting is becoming an integral part of his music-making. In 2013-14 he conducts the St. Paul Chamber Orchestra, Dresden Philharmonic, Northern Sinfonia, RTÉ National Symphony Dublin, Real Filharmonia Galicia, Tampere Philharmonic, Malmö Symphony, and Västerås Sinfonietta. In recital, Mr. Hardenberger tours with organist Jonathan Scott, including a concert at Dresden’s Frauenkirche. In other key partnerships, the duo collaborates with Swedish pianist Roland Pöntinen and with percussionist Colin Currie. Born in Malmö, Sweden, Håkan Hardenberger began studying the trumpet at age eight with Bo Nilsson in Malmö and continued his studies at the Paris Conservatoire with Pierre Thibaud and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Conserva- toire and the Royal Northern College of Music, Manchester. Earlier this month at Tanglewood he was soloist in Rolf Martinsson’s Bridge, Trumpet Concerto No. 1, with Andris Nelsons and the Boston Symphony Orchestra, and appeared in an Ozawa Hall concert featuring the chamber ensemble The Knights and soprano Dawn Upshaw. For more information, please visit hakanhardenberger.com. Born in Brazil, Marcelo Lehninger was appointed assistant conductor of the Boston Symphony Orchestra by James Levine. After three successful seasons as assistant conductor, he renewed his BSO contract for two more seasons, now as the orchestra’s associate conductor. Currently music director of the New West Symphony Orchestra in Los Angeles, Mr. Lehninger made his BSO debut in October 2010 and in March 2011 substituted for Mr. Levine to conduct the first performances of Harrison Birtwistle’s BSO-commissioned Violin Concerto with soloist Christian Tetzlaff in Boston and at Carnegie Hall. In January 2012 with the BSO, substituting for Andris Nelsons, he led the U.S. premiere of Mark-Anthony Turnage’s trumpet concerto From the Wreckage with Håkan Hardenberger. Also at Tanglewood this summer he will appear with the Tanglewood Music Center Orchestra on July 28 and lead the BSO’s annual Serge and Olga Koussevitzky Memorial Concert on August 1; in September he returns to the Symphony Hall podium to open the BSO’s 2014-15 subscription season with music of Mozart, Villa-Lobos, and Beethoven. In February 2014, Mr. Lehninger substituted for Pierre Boulez leading the Chicago Symphony Orchestra; as a guest conductor he has appeared with numerous orchestras in the United States and Canada. Since winning the First Eleazar de Carvalho National Conducting Competition in Rio de Janeiro in 2001, Mr. Lehninger has led all of the top orchestras in Brazil and been a regular guest conductor in Argentina. Chosen by Kurt Masur, in 2008 he was awarded the first Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation in 2008, spend- ing one month as Mr. Masur’s assistant with the Orchestre National de France, the Gewandhaus Orchestra in Leipzig, and the New York Philharmonic. A citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of pianist Sônia Goulart and violinist Erich Lehninger. He, his wife Laura, and their daughter Sofia divide their time between Boston and Los Angeles. For more information, please visit marcelolehninger.com.

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 7

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

Friday, July 25, 8:30pm THE JOSEPH C. MCNAY/ NEW ENGLAND FOUNDATION CONCERT

MANFRED HONECK conducting

Please note that Christoph von Dohnányi has regretfully had to cancel his Tanglewood appearances this weekend due to a serious illness in his family. We are grateful that Manfred Honeck, who makes his Tanglewood debut this weekend, was available at short notice to conduct both tonight’s and tomorrow night’s Boston Symphony Orchestra concerts. The programs remain unchanged.

BEETHOVEN Overture to “The Creatures of Prometheus,” Opus 43

MOZART Piano Concerto No. 12 in A, K.414(385p) Allegro Andante Allegretto PAUL LEWIS

{Intermission}

MENDELSSOHN Symphony No. 4 in A, Opus 90, “Italian” Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

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 4 FRIDAYPROGRAM 9 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Overture to “The Creatures of Prometheus,” Opus 43 First performance: March 28, 1801, Burgtheater, Vienna (as part of premiere of the ballet for which Beethoven wrote the music). First Tanglewood performance: August 9, 1958, Boston Symphony Orchestra, Pierre Monteux cond. Most recent Tanglewood performance: August 11, 2013, Christian Zacharias cond. Except for a youthful attempt ten years earlier in Bonn, Beethoven’s music for The Creatures of Prometheus was the first theatrical score he composed. It is not entirely clear why the Milanese dancer and ballet designer Salvatore Vigano asked Beethoven to provide the music for his new ballet, which was planned as a tribute to Maria Theresa, second wife to the Emperor Franz of Austria. But the fact that Beethoven’s instantly popular Septet in E-flat, Opus 20—introduced at a concert Beethoven gave for his own benefit at the Vienna Burgtheater on April 2, 1800—was dedicated to the Empress may provide the connection. By this time the thirty-year-old Beethoven had made himself a name as a composer of piano and chamber music, but his only significant orchestral scores were the First Symphony and two piano concertos; the symphony and one of the concertos (we don’t know which) were introduced to the Viennese public on the same concert as the Septet. The chance to compose for the theater marked a singular opportunity for the young composer, and he gave the commission a high priority, providing an overture, an introduction, and sixteen musical numbers. Although the ballet’s popularity was such that it was performed sixteen times in 1801 and thirteen times the following season, all that has come down to us besides

10 Beethoven’s music is a description of the story line, as given in a biography of Vigano by Carlo Ritorni and also in Thayer’s classic biography of the composer: The foundation of this allegorical ballet is the fable of Prometheus. The philoso- phers of Greece allude to Prometheus as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them manners, customs, and morals. As a result of that conception, two statues that have been brought to life are introduced in this ballet; and these, through the might of harmony, are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them. Apollo gives them as teachers Amphion, Arion, and Orpheus to instruct them in music, Melpomene to teach them tragedy, Thalia for comedy, Terpsichore and Pan for the shepherd’s dance, and Bacchus for the heroic dance, of which he was the originator. Beethoven’s overture is comparatively lightweight, given the nature of the subject matter and especially judging by the standards of his later, more frequently played overtures to Coriolan and Egmont. But the opening measures, with their swift strokes beginning as it were in medias res harmonically and so immediately commanding the attention, are a perfect foil to the woodwind melody that follows. Those opening chords may also be heard to anticipate the chordal—though not harmonic—frame- work for the perpetual-motion Allegro theme to follow, and the initial woodwind melody likewise prepares the second theme of the Allegro. All in all, the five-minute overture makes a perfect curtain-raiser for an evening’s entertainment, even providing a touch of drama when the main theme’s return is clouded by C minor before reverting to the predominant major-mode brightness of the whole.

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

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 12 in A, K.414(385p) Composed 1782 in Vienna. Date of first performance not known. First BSO performance at Tanglewood: July 3, 1965, Erich Leinsdorf cond., Malcolm Frager, soloist. Most recent Tanglewood performance: August 8, 2008, Sir Andrew Davis cond., Leon Fleisher, soloist. One of Mozart’s urgent concerns upon settling permanently in Vienna and entering into the state of matrimony, which meant that there would soon be children to provide for, was to establish himself financially. And one of the best ways was to write and play piano concertos, which would serve the double function of promoting him as composer and performer. Thus began the series of the great Mozart concertos, starting with three rather modest works composed late in 1782 and early the following year, identified as Nos. 413, 414, and 415 in the Köchel catalogue. In a letter to his father he described all three of them in these enthusiastic terms: These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why. More than just pleasing a diverse audience in performance, Mozart wanted to sell

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 11 copies of the music, and the only way he could do that was to make it practical not only for virtuosos appearing in public concert but also for amateurs. In order to attract this much larger audience of purchasers, Mozart took a leaf from the Opus 3 concertos of Johann Samuel Schroeter, which he had come to know several years earlier and which he admired. Schroeter’s trick was to write the orchestra part in such a way that the strings carry all the essential material, with the winds supplying only color and reinforcement. That way, a concerto could be played successfully at home by a pianist with a string quartet. That this was Mozart’s intention with this group of three concertos is demonstrated by his letter to the Parisian publisher Sieber on April 26, 1783: “I have three piano concertos ready, which can be performed with full orchestra, or with oboes and horns, or merely a quattro [i.e., with a string quartet].” There is no evidence that the composer himself ever played K.414 in public, except for the fact that he wrote two complete sets of cadenzas for the work, although that might only mean that one of his students played the piece. The earlier group of cadenzas may have been written at about the time of the original composition; the later set apparently dates from the winter of 1785-86. Throughout K.414, the keyboard seems to dominate more than it does in those concertos with larger orchestral complements, as if to compensate in some way for the diminutive ensemble. This appears not only in the normal “composed” part of the concerto, but also in the “improvised” cadenza-like passages, of which there are a considerable number—one full cadenza in each of the three movements, as well as an additional “Eingang” (or “lead-in” to the return) in the middle of the second movement, and two in the final movement. The slow movement opens with a quota- tion from a symphony by J.C. Bach, whom Mozart had met and admired as a child on his first London visit and who had died on New Year’s Day of 1782. The concluding rondo is a sprightly Allegretto, possibly Mozart’s second solution to the choice of a finale, since in October 1782 he had already composed a rondo in A that may have been intended for this position.

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

12 Felix Mendelssohn-Bartholdy (1809-1847) Symphony No. 4 in A, Opus 90, “Italian” First performance: May 13, 1833, London, Philharmonic Society, Mendelssohn cond. First BSO performance: October 1884, Wilhelm Gericke cond. First Berkshire Festival performance: August 16, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 2, 1941, Koussevitzky cond. Most recent Tanglewood performance: August 22, 2009, Kurt Masur cond. As the scion of a well-off middle-class German family, Felix Mendelssohn undertook the Grand Tour to the centers of classical culture in Italy; his tour was somewhat grander than most, extending from early May 1830 to late June 1832 and including months-long stops in Rome, Paris, and London (he had already spent some eight months in the British isles in 1829). From Rome on December 20, 1830, Felix wrote to his family, “The Hebrides is completed at last, and a strange production it is.” After mentioning a few small vocal pieces he was working on, he added, “After the new year I intend to resume instrumental music, and to write several things for the piano, and probably a symphony of some kind, for two have been haunting my brain.” The two symphonies in question were the ones we know as the Scotch (or, better, Scottish) and Italian symphonies, numbered three and four in the traditional conception of Mendelssohn’s symphonic output. The first of these, like the Hebrides Overture, was a reaction to his visit to Scotland the year before, while the Italian Symphony grew out of his new experiences in Rome and, later, Naples. Just after Christmas, Felix complained of absolutely miserable rainy weather which, no doubt, made it easier for him to settle down to composition instead of running off to visit the villa and gardens at Tivoli or some other sightseeing won- der. And though the weather became springlike by mid-January, he was able to write on the 17th that he had nearly completed some small works, adding “the two symphonies also begin to assume a more definite form, and I particularly wish to finish them here.” Surely it seems unlikely for a composer to work on avowedly Scottish and Italian symphonies (the names come from Mendelssohn himself) at the same time, but that is precisely what happened. He remained in Rome through Easter in order to experience the full effect of the traditional liturgical music of the Papal choir, the only complaint being that the beautiful weather drove away the “misty Scottish mood,” so he chose to set aside that symphony for the time being. We may presume that his “Italian” mood responded to all the stimuli, however, for when he reached Naples he wrote to his sister Rebecca that his cantata Die erste Walpurgisnacht (a setting of a Goethe poem, which he had worked on most of the winter) should be completed in a few days if the bad weather held, adding, “If I continue in my present mood, I shall finish my Italian symphony also in Italy, in which case I shall have a famous store to bring home with me, the fruits of this winter.” Since the Italian Symphony has long been regarded as one of his most perfect works, Mendelssohn’s uncertainty about letting it out of his hands and his constantly feeling the need to revise it are hard to credit today, but whatever faults—real or imagined—the composer found in the score resulted in its appearance only after his pre- mature death. Then, over a brief period of about five years, many scores previously withheld by the composer were at last published (although a great deal of his work was not printed even then, so aware were his executors of his careful, even finicky attitude toward scores that might be less than perfectly finished). The last work brought out in the composer’s lifetime was a set of Christmas piano pieces published as Opus 72; any number after that was added posthumously, with no regard for the

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 13 14 chronological order of composition. The “Opus 90” of the Italian Symphony gives a misleadingly false impression of its being a late work, whereas it is actually, as we have seen, one of the most brilliant early orchestral scores of this incredibly preco- cious artist. The richly assured orchestration makes its mark in the opening measures with a background of repeated chords in the woodwinds over which the violins sing their enthusiastic, soaring theme. The sonority of the first measure alone is enough to identify this score out of the entire symphonic repertory. The racing activity never stops or slows, even when the strings become the lightest staccato whisper to bring in the clarinets and bassoons with the secondary theme. But shortly before the end of the exposition the activity just barely slows to allow the solo clarinet one superbly romantic moment, whispering the opening theme in notes twice as long as before. As is usually the case with sonata-form first movements, Mendelssohn puts a repeat sign at the end of the exposition; in this case, though, the repeat is absolutely essential, since the first ending contains a new idea in the oboe and then in the strings— a soaring-upward that settles gracefully down to the cadence—which will play an important role in the coda. The second time through the exposition, leading on into the development, this passage is omitted. Much of the development is based on a new idea treated imitatively in the strings with punctuation from the woodwinds until the latter assert the importance of the main theme on top of everything. The new theme is recapitulated in place of the romantic moment for the clarinet in the exposition, and the coda works all of the preceding materials in with the concluding material from the first ending in a wonderfully imaginative web. Mendelssohn wrote to his sister Fanny that he would look for inspiration for the second movement in Naples. As it stands, there is no verbal hint of a program in this Andante, but Tovey professed to discern the influence of a religious procession through the streets (although such a procession need not have been limited to Naples). The opening figure, a “wailing” gesture, introduces a measured and rather sombre march-like theme in D minor. The third movement is the embodiment of graceful themes, with a light but poetic touch in the horn calls deftly answered by violin and flute scales in the Trio. The Saltarello is a whirlwind of rushing activity, from the orchestral trills and punctuating chords of the first measure, through the unison statement of the basic rhythm, to the end. The biggest surprise, perhaps, is that Mendelssohn begins in the minor mode and, contrary to all expectation, refus- es to yield, even in the very last measures, to a conclusion in the major. But the energy and the brilliant orchestration of the whole, the unflagging verve and ceaseless activity, bring on a conclusion that, for all its surprises, is as fully gratifying as any that Mendelssohn ever wrote. The Italian Symphony is the product of a very young man—of twenty-two to twenty- four years. Not so young, certainly, as the composer of the Octet or the overture to A Midsummer Night’s Dream, but still a man in the first flush of his mature powers. And though Mendelssohn can hardly be said ever to have been an old man, it is unlikely that the intended later revisions, if he had ever gotten around to them as he hoped, could have had any effect but to vitiate the overwhelming sense of youth that we find in this score.

STEVEN LEDBETTER

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 15 Guest Artists

Manfred Honeck Manfred Honeck has served as music director of the Pittsburgh Symphony Orchestra since the 2008-09 season and has extended his contract through 2019-20. His work in Pittsburgh has been captured on CD by the Japanese label Exton, in acclaimed recordings of Mahler symphonies 1, 3, 4 (an ICMA 2012 Award-winner), and 5, Tchaikovsky’s Symphony No. 5, and Strauss’s Ein Heldenleben. He and the orchestra have toured regularly, including to numerous European music capitals and festivals and the BBC Proms since 2010. Their 2012 tour included a week-long residency at Vienna’s Musikverein. From 2007 to 2011 Mr. Honeck was music director of the Staatsoper Stuttgart, where he conducted numerous productions including Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Strauss’s Der Rosenkavalier, Poulenc’s Dialogues des Carmélites, and Wagner’s Lohengrin and Parsifal, as well as numerous symphonic concerts. Operatic guest appearances include Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg, and the Salzburg Festival. Born in Austria, Manfred Honeck received his musical training at the Academy of Music in Vienna. His experience for several years as a member of the Vienna Philharmonic and Vienna State Opera Orchestra, and as conductor of Vienna’s Jeunesse Orchestra, has given his conducting a distinctive stamp. He began his conducting career as assistant to Claudio Abbado in Vienna and was subsequently engaged by the Zurich Opera House, where he received the European Conductor’s Award in 1993. He served as one of three main conductors of the MDR Symphony Orchestra in Leipzig, and for a year as music director of Norwegian National Opera in Oslo. Following a highly successful tour of Europe, he was appointed principal guest conduc-

16 tor of the Oslo Philharmonic for several years. He has been music director of the Swedish Radio Symphony Orchestra, principal guest conductor of the Czech Philhar- monic, and guest conductor with major international orchestras throughout Europe and the U.S. A regular guest at the Verbier Festival, he has been artistic director of the International Concerts Wolfegg in Germany for more than fifteen years. In February 2013 he made his successful Berlin Philharmonic debut, resulting in a Deutsche Grammophon recording with Anne-Sophie Mutter of works by Dvoˇrák. 2013-14 brings return engagements in Bamberg, New York, Los Angeles, Boston, and Rome, as well as his Philadelphia Orchestra debut. Mr. Honeck made his BSO debut at Symphony Hall in 2005 and returned for subscription concerts this past February 2014. He makes his Tanglewood debut this weekend.

Paul Lewis Internationally recognized as one of the leading pianists of his generation, Paul Lewis enjoys a busy international schedule of engagements at the world’s most prestigious venues and festivals. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, the South Bank Show Classical Music Award, the Diapason d’or de l’année, two successive Edison awards, the 25th Premio Internazionale Accademia Musicale Chigiana in Siena, the Preis der Deutschen Schallplattenkritik, a Limelight Award in Australia, and three Gramophone awards, including Record of the Year in 2008. In 2009 he was awarded an hon- orary doctorate by the University of Southampton. His complete cycles of core works by Beethoven and Schubert have earned him unanimous worldwide acclaim. He completed his two-year Schubert project at the close of the 2012-13 season with performances of the last three sonatas in more than forty musical centers worldwide. He continues his partnership with tenor Mark Padmore, performing the Schubert song cycles in Tokyo at the end of the year. Mr. Lewis is a regular guest with many of the world’s great orchestras, collaborating with such conductors as Colin Davis, Bernard Haitink, Christoph von Dohnanyi, Mark Elder, Charles Mackerras, Wolfgang Sawallisch, Daniel Harding, Andris Nelsons, Paavo Järvi, Jiˇrí Bˇelohlávek, Pablo Heras-Casado, and Stéphane Denève. Recital engagements have taken him to venues and festivals throughout Europe, Japan, and the U.S. In 2010 he became the first pianist to perform a complete Beethoven piano concerto cycle in one Proms season. His extensive award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and Diabelli Variations, Liszt’s Sonata in B minor and other works, all the major piano works from the last six years of Schubert’s life, and the three Schubert song cycles with Mark Padmore. He has also recorded Mozart’s piano quartets, Schubert’s Trout Quintet, and a Schubert duet disc with pianist Steven Osborne for Hyperion Records. Future recording plans for Harmonia Mundi include Brahms’s Piano Concerto No. 1 with the Swedish Radio Symphony Orchestra and Daniel Harding, and solo works by Schumann and Mussorgsky. Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama before going on to study privately with Alfred Brendel. Along with his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK. Paul Lewis made his BSO debut at Tanglewood in Mozart’s Piano Concerto No. 23 in August 2012 under Christoph von Dohnányi, and in July 2013 returned to Tanglewood for a recital of the three final Schubert piano sonatas. In October 2013 he made his BSO subscription series debut at Symphony Hall, as soloist in Mozart’s C major piano concerto, K.503, with Andris Nelsons conducting.

TANGLEWOODWEEK 4 GUESTARTISTS 17 The Evelyn and Samuel Lourie Memorial Concert Saturday, July 26, 2014 The performance on Saturday evening is supported by a generous gift from BSO Overseer Linda J.L. Becker in memory of her parents, Evelyn and Samuel Lourie. Linda has been a donor and concert attendee at Tanglewood for more than ten years. She was elected to the BSO Board of Overseers in 2006, and she is a former member of the Annual Funds Committee. Linda is one of the most generous supporters of the Tanglewood Annual Fund, contributing to the Koussevitzky Society at the Virtuoso level, and supporting a full fellowship at the Tanglewood Music Center since 2003. In addition to her Annual Fund support, Linda has regularly supported Opening Nights at Tanglewood. Linda is the School Grammarian and English teacher at the Pine Cobble School in Williamstown, MA. She is an alumna of Smith College and the Harvard Graduate School of Education. In addition to her involvement at the BSO, Linda has been involved with several organizations in the Berkshires. She is a trustee of the North Adams Steeplecats baseball team, director emerita of the Williamstown Rural Lands Foundation, and former chair of the board of trustees of the Milne Public Library in Williamstown. Stu Rosner

18 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, July 26, 8:30pm THE EVELYN AND SAMUEL LOURIE MEMORIAL CONCERT

MANFRED HONECK conducting

Please note that Christoph von Dohnányi has regretfully had to cancel his Tanglewood appearances this weekend due to a serious illness in his family. We are grateful that Manfred Honeck, making his Tanglewood debut this weekend, was available at short notice to conduct last night’s and tonight’s Boston Symphony Orchestra concerts, with both programs remaining unchanged.

MAHLER Symphony No. 2 in C minor Allegro maestoso. With complete gravity and solemnity of expression. Andante moderato. Very easygoing. Not to be hurried at any point. In quietly ﬂowing motion. Urlicht (Primal Light). Very solemn, but simple, like a hymn. In the tempo of the scherzo—Bursting out wildly—Slow—Allegro energico—Slow— Very slow and expansive—Slow. Misterioso CAMILLA TILLING, soprano SARAH CONNOLLY, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 24.

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

TANGLEWOODWEEK 4 SATURDAYPROGRAM 19 NOTES ON THE PROGRAM

Gustav Mahler (1860-1911) Symphony No. 2 in C minor First performance: December 13, 1895, Berlin Philharmonic Orchestra, Richard Strauss cond., Josephine von Artner and Hedwig Felden, soloists (preceded on March 4, 1895, by a performance of only the first three movements, Berlin Philharmonic, Strauss cond.). First BSO performances: January/February 1918, Karl Muck cond., May Peterson and Merle Alcock, soloists. First Tanglewood performance: August 1, 1948, Leonard Bernstein cond., Ellabelle Davis and Nan Merriman, soloists. Most recent Tanglewood performance: July 9, 2010, Michael Tilson Thomas cond., Layla Claire and Stephanie Blythe, soloists; Tanglewood Festival Chorus, John Oliver, cond. In August 1886, eight years out of school and with conducting experience at Bad Hall, Laibach (Ljubljana), Iglau (Jihlava), Olmütz (Olomouc), Kassel, and Prague, the twenty-six-year-old Mahler was appointed second conductor at the theater in Leipzig. (His superior was a future Boston Symphony conductor, Arthur Nikisch.) He soon made the acquaintance of a captain in the Saxon army, Baron Carl von Weber, grandson of the composer of Der Freischütz, Euryanthe, and Oberon, music close to Mahler’s heart. The encounter had interesting consequences. First, Captain von Weber invited Mahler to exam- ine his grandfather’s sketches for an opera called Die drei Pintos, begun and abandoned in 1820 near the end of his work on Freischütz. He hoped to inter- est Mahler in extracting a performing version from those sketches, a project considered but then dropped earlier in the century by Giacomo Meyerbeer and Franz Lachner. Then, Mahler and von Weber’s wife Marion fell in love, and some of their affair is, as it were, composed into the First Symphony on which Mahler worked with great concentration in February and March 1888. He did, in any event, take on Die drei Pintos, conducting its highly acclaimed premiere on January 20, 1888. Bouquets and wreaths galore were presented to Mahler and the cast. Mahler took home as many of these floral tributes as he could manage, and lying in his room amid their seductive scent, he imagined himself dead on his bier. Marion von Weber pulled him out of his state and removed the flowers, but the experience had been sufficient to sharpen greatly Mahler’s vision of a compositional project he had had in mind for some months and on which he began work a few weeks later. This was a large orchestral piece called Todtenfeier or Funeral Celebration. Mahler’s biographer Henry-Louis de La Grange points out that Todtenfeier was the title of the recently published German translation by Mahler’s friend Siegfried Lipiner of Dziady, the visionary and epic masterpiece of Poland’s greatest poet, Adam Mickiewicz. De La Grange suggests as well that certain aspects of Dziady and of Mickiewicz’s life were apposite to Mahler’s own situation, particularly with respect to Marion von Weber, and that the music might be construed as a requiem for their relationship. We know, at any rate, that the following things happened: Mahler began the composition of Todtenfeier in February 1888, but preferred to use the enforced and welcome holiday brought about by the closing of theaters in mourning for Emperor Wilhelm I to work on the Symphony No. l. In May he resigned his Leipzig post, in part because of the increasingly tense situation with the Webers, and became music director of the opera in Budapest. He returned to his Todtenfeier score in the late spring and summer, finishing the composition in August and completing the orchestral score in Prague on September 10. Five years later—Mahler had meanwhile become princi-

20 pal conductor in Hamburg—he realized that Todtenfeier was not an independent piece, but rather the first movement of a new symphony. In 1893-94 the rest fell into place as quickly as his conducting obligations permitted. The Second Symphony is often called the Resurrection, but Mahler himself gave it no title. On various occasions, though, and beginning in December 1895, Mahler offered programs to explain the work. As always, he blew hot and cold on this question. Writing to his wife, he referred to the program he had provided at the request of King Albert of Saxony in connection with a December 1901 Dresden performance as “a crutch for a cripple.” He goes on: “It gives only a superficial indication, all that any program can do for a musical work, let alone this one, which is so much all of a piece that it can no more be explained than the world itself. I’m quite sure that if God were asked to draw up a program of the world he created he could never do it. At best it would say as little about the nature of God and life as my analysis says about my C minor Symphony.” Not only was Mahler skeptical about the programs he could not resist devising—all after the event—but he changed his mind repeatedly as to just what the program was. (La Grange recounts three different versions, one written in January 1896 for Mahler’s friend Natalie Bauer-Lechner and the conductor Bruno Walter, another two months later for the critic Max Marschalk, and the Munich-Dresden version of 1900-1901.) Across their differences, the programs share certain features. The first movement celebrates a dead hero. It retains, in other words, its original Todtenfeier aspect, and since the First and Second symphonies were, in a sense, of simultaneous genesis, it is worth citing Mahler’s comments that it is the hero of the First Symphony who is borne to his grave in the funeral music of the Second (to Marschalk, March 26, 1896) and that “the real, the climactic dénouement [of the First] comes only in the Second” (transmitted to Ludwig Karpath, critic of the Neues Wiener Tagblatt, by Bauer-Lechner in November 1900). The second and third movements represent ret- rospect, the former being innocent and nostalgic, the latter including a certain ele- ment of the grotesque. The fourth and fifth movements are the resolution and they deal with the Last Judgment, redemption, and resurrection. All this has bearing on Mahler’s perception of the structure of his Second Sym- phony, a matter on which he made various comments that are not so much contra- dictory as they are complementary. Referring to the frustrating because partial premiere in Berlin in March 1895, he said that the first three movements were in effect “only the exposition” of the symphony. He wrote elsewhere that the appearance of the Urlicht song sheds light on what comes before. Writing to the critic Arthur Seidl in 1897, he refers to the three middle movements as having the function only of an “interludium.” There is, as well, the question of breaks between movements. The score is quite explicit here, specifying a pause “of at least five minutes” after the first movement and emphatically demanding in German and Italian that the last three movements follow one another without any interruption. Yet in March 1903, Mahler wrote to Julius Buths, who was getting ready to conduct the work at Düsseldorf, a letter worth quoting at some length: According [to your suggestion] then, the principal break in the concert would come between the fourth and fifth movements. I am amazed at the sensitivity with which you (contrary to my own indications) have recognized the natural caesura in the work. I have long been of this opinion, and furthermore, each performance I have conducted has strengthened this view. Nonetheless, there ought also to be an ample pause for gathering one’s thoughts after the first movement because the second movement has the effect after the first, not of contrast, but as a mere irrelevance. This is my fault and not to be

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 21 blamed on insufficient comprehension on the part of listeners. Perhaps you have already sensed this in rehearsing the two movements one after the other. The Andante is composed as a kind of intermezzo (like some lingering reso- nance of long past days from the life of him whom we bore to his grave in the first movement—something from the days when the sun still smiled upon him). While the first, third, fourth, and fifth movements belong together thematically and in mood, the second piece stands by itself, in a certain sense interrupting the grim and severe march of events. Perhaps this is a weakness in planning, the intention behind which is, however, surely clarified for you by the foregoing suggestion. It is altogether logical to interpret the beginning of the fifth movement as a connecting link to the first, and the big break before the former helps to make this clear to the listener. This is illuminating and written with great conviction; yet one should probably assume that Mahler’s final thoughts on the question are to be found in his 1909 revisions, published 1910, where he sticks with his original directions for an attacca between the third and fourth, and the fourth and fifth movements. The first and last movements are the symphony’s biggest, though the finale is much the longer of the two. In other ways, they are as different as possible, partly no doubt because of the six years that separate them, still more crucially because of their different structural and expressive functions. The Todtenfeier is firmly anchored to the classical sonata tradition (late Romantic branch). Its character is that of a march, and Mahler’s choice of key—C minor—surely alludes to the classic exemplar for such a piece, the marcia funèbre in Beethoven’s Eroica. The lyric, contrasting theme, beautifully scored for horns, is an homage to Beethoven’s Violin Concerto.

22 Disjunctions of tempo are very much a feature of Mahler’s style. At the very beginning, against scrubbing violins and violas, low strings hurl turns, scales, and broken chords. Their instruction is to play not merely fff but “ferociously.” Here, for example, Mahler prescribes two distinct speeds for the string figures and the rests that separate them, the former “in violent onslaught” at about =144, the latter in the movement’s main tempo of about =84-92. Later, the climax of the development is fixed not only by maximal dissonance, but, still more strikingly, by a series of three caesuras, each followed by an “out of tempo” forward rush. The thematic material of the second movement, both the gentle dance with which it begins and the cello tune that soon joins in, goes back to Leipzig and the time of the Todtenfeier. Like the minuet from the Third Symphony, this movement was occasionally played by itself, and Mahler used to refer to these bucolic genre pieces as the raisins in his cakes. Three musicians who resisted its charms were Claude Debussy, Paul Dukas, and Gabriel Pierné, who all walked out during its performance in Paris in 1910: reactionary and too much like Schubert, they said. The third movement is a symphonic expansion of the Knaben Wunderhorn song about Saint Anthony of Padua’s sermon to the fishes. Mahler worked on the two pieces simultaneously and finished the scoring of the song one day after that of the scherzo. The sardonic Fischpredigt scherzo skids into silence, and its final shudder is succeeded by a new sound, the sound of a human voice. In summoning that resource, as he would in his next two symphonies as well, Mahler consciously and explicitly evokes Beethoven’s Ninth Symphony. Urlicht, whose text also comes from Des Knaben Wunderhorn, is one of Mahler’s loveliest songs and full of Mahlerian paradox, too, in that its hymnlike simplicity and naturalness are achieved by a metrical flexibility so vigilant of prosody and so complex that the opening section of thirty-five bars has twenty-one changes of meter. The chamber-musical scoring is also characteristically detailed and inventive. The peace that the song spreads over the symphony like balm is shattered by an out- burst whose ferocity again refers to the corresponding place in Beethoven’s Ninth. Like Beethoven, Mahler draws on music from earlier in the symphony; not, however, in order to reject it, but to build upon it. He arrays before us a great and pictorial pageant. Horns sound in the distance (Mahler referred to this as “the crier in the wilderness”). A march with a suggestion of the Gregorian Dies irae is heard, and so is other music saturated in angst, more trumpet signals, marches, and a chorale. Then Mahler’s “große Appell,” the Great Summons, the Last Trump: horns and trumpets loud but at a great distance, while in the foreground a solitary bird flutters across the scene of destruction. Silence. From that silence there emerges again the sound of human voices in a Hymn of Resurrection. A few instruments enter to support the singers and, magically, at the word “rief”—“called”—a single soprano begins to float free. Stu Rosner

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 23 Although thoroughly aware of the perils of inviting comparison with Beethoven, Mahler knew early that he wanted a vocal finale. The problem of finding the right text baffled him for a long time. Once again the altogether remarkable figure of Hans von Bülow enters the scene—Hans von Bülow, the pianist who gave the first performance of Tchaikovsky’s most famous piano concerto (in Boston), who conducted the premieres of Tristan and Meistersinger (and whose young wife left him for Wagner), and who was one of the most influential supporters of Brahms. When Mahler went to the Hamburg Opera in 1891, the other important conductor in town was Bülow, who was in charge of the symphony concerts. Bülow was not often a generous colleague, but Mahler impressed him, nor was his support diminished by his failure to like or understand the Todtenfeier when Mahler played it for him on the piano: it made Tristan sound like a Haydn symphony, he said. As Bülow’s health declined, Mahler began to substitute for him, and he was much affected by Bülow’s death early in 1894. At the memorial service in Hamburg, the choir sang a setting of the Resurrection Hymn by the 18th-century Saxon poet Fried- rich Gottlieb Klopstock. “It struck me like lightning, this thing,” Mahler wrote to Arthur Seidl, “and everything was revealed to my soul clear and plain.” He took the first two stanzas of Klopstock’s hymn and added to them verses of his own that deal still more explicitly with the issue of redemption and resurrection. The lines about the vanquishing of pain and death are given to the two soloists in passionate duet. The verses beginning “Mit Flügeln, die ich mir errungen” (“With wings I won for myself”) form the upbeat to the triumphant reappearance of the chorale: “Sterben werd’ ich, um zu leben!” (“I shall die so as to live!”), and the symphony comes to its close in a din of fanfares and pealing bells.

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 compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

Urlicht Primal Light O Röschen rot! O little red rose! Der Mensch liegt in grösster Not! Humankind lies in greatest need! Der Mensch liegt in grösster Pein! Humankind lies in greatest pain! Je lieber möcht ich im Himmel sein! Much rather would I be in Heaven! Da kam ich auf einen breiten Weg, Then I came onto a broad way, Da kam ein Engelein und wollt mich And an angel came and wanted abweisen. to turn me away. Ach nein! Ich liess mich nicht But no, I would not let myself be abweisen! turned away! Ich bin von Gott und will wieder I am from God and would return zu Gott! to God! Der liebe Gott wird mir ein Dear God will give me a light, Lichtchen geben, Wird leuchten mir bis in das ewig Will light me to eternal, blissful life! selig Leben! FROM “DES KNABEN WUNDERHORN” (“THE BOY’S MAGIC HORN”)

24 Auferstehung Resurrection Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes, you will rise again, Mein Staub, nach kurzer Ruh! My dust, after brief rest! Unsterblich Leben! Unsterblich Leben Immortal life! Immortal life Wird der dich rief dir geben! Will He who called you grant you! Wieder aufzublüh’n wirst du gesät! To bloom again you were sown! Der Herr der Ernte geht The Lord of the Harvest goes Und sammelt Garben And gathers sheaves, Uns ein, die starben! Us, who died! FRIEDRICH GOTTLIEB KLOPSTOCK

O glaube, mein Herz, o glaube: O believe, my heart, but believe: Es geht dir nichts verloren! Nothing will be lost to you! Dein ist, Dein, ja Dein, was du Yours is what you longed for, gesehnt! Dein, was du geliebt, Yours what you loved, Was du gestritten! What you fought for! O glaube: O believe: Du wards nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, gelitten! You have not lived in vain, nor suffered! Was entstanden ist, das muss What has come into being must vergehen! perish, Was vergangen, auferstehen! What has perished must rise again! Hör’ auf zu beben! Cease from trembling! Bereite dich zu leben! Prepare to live! O Schmerz! Du Alldurchdringer! O Pain, piercer of all things, Dir bin ich entrungen! From you I have been wrested! O Tod! Du Allbezwinger! O Death, conqueror of all things, Nun bist du bezwungen! Now you are conquered! Mit Flügeln, die ich mir errungen, With wings I won for myself, In heissem Liebesstreben In love’s ardent struggle, Werd’ ich entschweben I shall ﬂy upwards Zum Licht, zu dem kein Aug’ To that light to which no eye has gedrungen! penetrated! Sterben werd’ ich, um zu leben! I shall die so as to live! Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes, you will rise again, Mein Herz, in einem Nu! My heart, in the twinkling of an eye! Was du geschlagen, What you have conquered Zu Gott wird es dich tragen! Will bear you to God! GUSTAV MAHLER

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 25 Guest Artists

For a biography of Manfred Honeck, see page 16.

Camilla Tilling A graduate of the University of Gothenburg and London’s Royal College of Music, Swedish soprano Camilla Tilling launched her international career at New York City Opera as Corinna in Rossini’s Il viaggio a Reims and, by the end of the subsequent two seasons, had made debuts at the Royal Opera House–Covent Garden, La Monnaie in Brussels, the Aix-en-Provence, Glyndebourne, and Drottningholm festivals, and at the Metropolitan Opera. Highlights of 2013-14 include Orfeo ed Euridice with Les Musiciens du Louvre Grenoble under Marc Minkowski, Le nozze di Figaro at Covent Garden, and a role debut in Daphne at the Théâtre du Capitole, Toulouse. In concert she performs Strauss’s Four Last Songs with the Vienna Symphony under David Zinman, Berg’s Seven Early Songs with the Los Angeles Philharmonic under Lionel Bringuier, the St. Matthew Passion and St. John Passion with the Berlin Philharmonic under Sir Simon Rattle, and Waisenhausmesse with the Orchestre de Paris under Giovanni Antonini. Recent major engagements numerous roles at Covent Garden, the Metropolitan Opera, Teatro alla Scala, Lyric Opera of Chicago, Bayerische Staatsoper; Opéra National de Paris, San Francisco Opera, and Teatro Real Madrid. She made her role debut as Fiordiligi in Così fan tutte at the Théâtre des Champs-Elysées. She has collaborated with such conductors as Antonio Pappano, Andrew Davis, James Levine, Daniel Harding, Seiji Ozawa, John Eliot Gardiner, Semyon Bychkov, and Charles Mackerras. Recent concert highlights include Mahler’s Symphony No. 4 with the Boston Symphony Orchestra under Bernard

26 Haitink; Mahler’s Symphony No. 2 in Gothenburg under Gustavo Dudamel and again with the Berlin Philharmonic at Carnegie Hall; Strauss’s Four Last Songs with the Hong Kong Philharmonic; Haydn’s Creation with the Los Angeles Philharmonic, and Beethoven’s Ah! Perfido in Stockholm. Ms. Tilling has recorded Cherubini’s Mass in D minor with Riccardo Muti (EMI); Mahler’s Symphony No. 4 with Benjamin Zander (Telarc); Belinda in Purcell’s Dido and Aeneas, and the Angel in Handel’s La resurrezione with Emanuelle Haïm, as well as Grieg’s Peer Gynt with Paavo Järvi (all Virgin Classics), and Mozart’s Mass in C minor and Beethoven’s Ah! perfido with Paul McCreesh (DG Archiv). Her two solo discs with Paul Rivinius are “Rote Rosen,” a selection of Strauss Lieder, and a selection of Schubert songs entitled “Bei dir allein!” (both BIS). Camilla Tilling made her Boston Symphony debut in Mendelssohn’s Lobgesang in January 2011; her most recent appearances with the orchestra were in Mahler’s Symphony No. 2 in September/October 2013. Her only previous Tanglewood appearance was in Mahler’s Symphony No. 4 in August 2013, with Bernard Haitink conducting the BSO.

Sarah Connolly English mezzo-soprano Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made CBE in the 2010 New Year’s Honours List; was presented with the Distinguished Musician Award by the Incorporated Society of Musicians in 2011; and is the recipient of the Royal Philharmonic Society’s 2012 Singer Award. Her engagements in the 2013-14 season have included the title role in Agrippina at the Gran Teatro del Liceu and the title role in a new production of Ariodante at the Festival d’Aix-en-Provence. In concert she sings Octavian in Der Rosenkavalier with both the National Sym- phony Orchestra under Eschenbach and the London Symphony Orchestra under Elder; Berlioz’s Les nuits d’été with the London Philharmonic under Nézet-Séguin; Elgar’s The Dream of Gerontius with the BBC Symphony Orchestra and Sir Andrew Davis; Irene in an American and European tour of Handel’s Theodora with The English Concert under Bicket; and Mendelssohn’s Elijah with the Filarmonica della Scala under Harding. Recent operatic highlights include Fricka in Das Rheingold and Die Walküre at Covent Garden; Dido in Dido and Aeneas at both La Scala and Covent Garden; the Composer in Ariadne auf Naxos and Clairon in Capriccio at the Metropolitan Opera; Phèdre in Hippolyte et Aricie at Paris Opera; and the title role in Giulio Cesare and Brangäne in Tristan und Isolde at the Glyndebourne Festival. Upcoming engagements include returns to Covent Garden and Glyndebourne and debuts at Netherlands Opera, the Festspielhaus in Baden-Baden, and the Vienna State Opera. She has appeared in recital in London and New York and at the Aldeburgh and Edinburgh festivals; concert engagements have taken her to such festivals as Lucerne, Salzburg, and Tanglewood, as well as the Three Choirs Festivals and the BBC Proms, where she was a memorable guest soloist at 2009’s Last Night. Much in demand for the great lyric mezzo repertory, she has appeared with the Boston Symphony Orchestra under Sir Colin Davis; the Leipzig Gewandhaus Orchestras under Chailly; the Concertgebouw Orchestra with Harding; L’Orchestre des Champs-Élysées with Herreweghe; the London Philharmonic Orchestra with Jurowski, the Orchestra of the Age of Enlightenment with Rattle, and the Hallé Orchestra with Elder. A prolific recording artist on both CD and DVD, she has been twice nominated for a Grammy Award. Sarah Connolly made her BSO and Tanglewood debuts in July 2006 singing Handel arias—her only previous Tanglewood performance. She has also appeared with the BSO at Symphony Hall, in Elgar’s Dream of Gerontius in January 2008 and in Mahler’s Symphony No. 2 this past season, in September/October 2013.

TANGLEWOODWEEK 4 GUESTARTISTS 27 Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus participates in performances of Mahler’s Symphony No. 2 with conductor Manfred Honeck (July 26), excerpts from Verdi’s Nabucco and Aida with Jacques Lacombe (July 27), Prokofiev’s Alexander Nevsky cantata with Stéphane Denève (August 15), a concert performance of Bernstein’s Candide with Bramwell Tovey (August 16), and Beethoven’s Choral Fantasy and Ninth Symphony with Charles Dutoit (August 24). In addition, the chorus under John Oliver’s direction performs its annual Friday Prelude Concert in Ozawa Hall, a program this year of music by Shostakovich and Tavener (August 22). Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston- area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella

music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and

TANGLEWOODWEEK 4 GUESTARTISTS 29 Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In Febru- ary 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. Last summer’s 2013 Tanglewood season marked the 50th anniversary of Mr. Oliver’s Tanglewood debut.

30 Tanglewood Festival Chorus John Oliver, Conductor (Mahler Symphony No. 2, July 26, 2014)

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

Michele Bergonzi # • Jeni Lynn Cameron • Danni Leathers Cauley • Catherine C. Cave • Anna S. Choi • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette # • Katherine Barrett Foley • Diana Gamet • Bonnie Gleason • Ashley Gryta • Beth Grzegorzewski • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Donna Kim • Nancy Kurtz • Hannah McMeans • Christiana Donal Meeks • Deirdre Michael • Kieran Murray • Ebele Okpokwasili-Johnson • Jaylyn Olivo • Laurie Stewart Otten • Avery Peterman • Livia M. Racz • Jessica Rucinski • Melanie Salisbury # • Dana R. Sullivan • Sarah Telford # • Lauren Woo • Meghan Renee Zuver Mezzo-Sopranos

Anete Adams • Virginia Bailey • Kristen S. Bell • Betty Blanchard Blume • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman # • Dorrie Freedman § • Irene Gilbride # • Mara Goldberg • Rachel K. Hallenbeck • Betty Jenkins • Irina Kareva • Susan L. Kendall • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Ana Morel • Kendra Nutting • Fumiko Ohara # • Kathleen Hunkele Schardin • Elodie Simonis • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Cindy M. Vredeveld • Christina Wallace Cooper • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Armen Babikyan • Brent Barbieri • John C. Barr # • Ryan Casperson • Jiahao Chen • Stephen Chrzan • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Aidan Christopher Gent • Len Giambrone • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Matthew Jaquith • James R. Kauffman # • Lance Levine • Zachary Lounsbury • Ronald J. Martin • Jonathan Oakes • Lukas Papenfusscline • Dwight E. Porter * • Peter Pulsifer • Tom Regan • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Stephen E. Smith • Don P. Sturdy # • Martin S. Thomson • Andrew Wang • Joseph Y. Wang • Hyun Yong Woo Basses

Nathan Black • Daniel E. Brooks # • Michel Epsztein • Dylan Evans • Jeff Foley • Andrew Gribbin • Jeramie D. Hammond • William Hurwitz • Nathan Kessel • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan # • Ryan M. Landry • Maxwell Levy • David K. Lones # • Eryk P. Nielsen • Stephen H. Owades § • William Brian Parker • Donald R. Peck • Michael Prichard # • Sebastian Rémi • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Scott Street • Craig A. Tata • Alexander Teplansky • Samuel Truesdell • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Terry Ward • Peter J. Wender § • Channing Yu

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager

TANGLEWOODWEEK 4 GUESTARTISTS 31

Farewell, Thanks, and All Best

Three departing members of the Boston Symphony Orchestra will be recognized on stage at the end of this afternoon’s concert. Violist Edward Gazouleas will leave the orchestra at the end of the 2014 Tanglewood season, after 24 years as a BSO member, to become Professor of Viola at the Jacobs School at Indiana University, Bloomington. Likewise departing at the end of the Tanglewood season are cellist Jonathan Miller, who leaves after 43 years as a member of the BSO, and librarian William Shisler, who retires after 57 years on the Boston Symphony Orchestra roster. Also being acknowledged on stage today is former BSO principal librarian Marshall Burlingame, who retired from the orchestra in April 2014. With all best wishes for their future endeavors, we extend heartfelt thanks to all four of them for their many years of dedication and service to the BSO and the musical community of Boston. EDWARD GAZOULEAS currently holds the Lois and Harlan Anderson Chair in the Boston Symphony viola section, and will be leaving teaching posts at the Boston University College of Fine Arts and the New England Conservatory of Music to join the faculty of the Jacobs School at Indiana University. Having held positions at Temple University and Wellesley College, Ed also taught at the Boston Conservatory for a significant period and was a member of their faculty chamber ensemble, the Boston Conservatory Chamber Players, for over ten years. At the New England Conservatory, in addition to twelve years of teaching a weekly course on orchestra repertoire for violists, Ed co-designed the curriculum for, and taught four semesters of, NEC’s new course in Entrepreneurial Musicianship. An active recitalist and chamber music play- er, he was a prizewinner at the International String Quartet Competition in Evian, France, and has performed with members of the Fine Arts, Johannes, Muir, Lydian, and Audubon string quartets, as well as with the Boston Symphony Chamber Players. Ed joined the Boston Symphony Orchestra in 1990 and has held the position of third chair violist since 2000. At the BSO, he has served on the Joint Committee, the Players’ Committee, the Artistic Advisory Committee (of which he was Chairman), and the most recent Music Director Search Committee, and he has been the viola representative on the Tanglewood Music Center faculty since 2004. Prior to joining the BSO, Ed was a member of the Pittsburgh Symphony under Lorin Maazel. He attended Yale and is a graduate of the Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Principal librarian of the Boston Symphony Orchestra since 1985, MARSHALL BURLINGAME attended the Eastman School of Music, aided by a N.Y. State Regents scholarship, receiving a bachelor of music degree in clarinet and music history, and a master’s degree in performance and literature. He was also awarded the Performer’s Certificate in Clarinet as a student of Stanley Hasty. Graduating from Eastman during the Vietnam War, Marty fulfilled his military service as a member of the U.S. Air Force Concert Band in Washington, where he studied with Harold Wright, who would later become principal clarinet of the Boston Symphony Orchestra and was at that time principal clarinet of the National Symphony Orchestra. After leaving the Air Force, Marty continued clarinet studies and joined the music reference staff of the Library of Congress. Through a connection between the director of the Library of Congress Music Division and the music director of the

TANGLEWOODWEEK 4 FAREWELL, THANKS, ANDALLBEST 33 Cincinnati Symphony, he was invited to interview for the principal librarian position of the Cincinnati Symphony, a career course he had not previously considered. He was offered the position, and the two years he planned to be in Cincinnati turned into twelve. It was an experience that presented many opportunities in addition to being principal librarian: he substituted in the clarinet section and became program annotator for several years. He was also assistant conductor of the Cincinnati May Festival Chorus when the thirty-year-old James Levine was the festival’s music director. By 1981, feeling the desire to explore other career possibilities, he resigned his library position in Cincinnati and relocated to Boston, where he worked on a grant that he had proposed to the National Endowment for the Arts, doing research in the BSO library for a database designed to aid orchestras and other musical organizations in planning and producing concerts. During the three-year period of the grant, he was asked to revisit his past by acting as librarian for the Tanglewood Music Center Orchestra, and, later, working with John Williams, providing him with scores and helping to make programs for the 1983 and 1984 Boston Pops seasons. All of these activities, and the presence of the Boston Symphony Orchestra in rehearsal and concert, made for an exciting three years. When longtime BSO principal librarian Victor Alpert announced his retirement in 1984, Marty threw his hat into the ring, having realized that being principal librarian of a great orchestra was indeed a terrific and fortunate career—a feeling, he observes, that has not changed in the course of the past twenty-eight-plus years. Marty views his retirement from the BSO as another opportunity to investigate new activities. In addition to music, his other lifelong passion has been for English literature; he plans to explore possibilities in the fields of writing and editing. Marty lives in Waban with his wife, Aline Benoit. JONATHAN MILLER occupies the Richard C. and Ellen E. Paine Chair in the BSO cello section. After auditing Pablo Casals’s master class at the University of California at Berkeley, Jonathan Miller chose to abandon his study of literature there and devote himself completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Garbousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the Boston Symphony Orchestra in 1971, he held appointments as principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras and was principal cellist of the Connecticut Opera Orchestra. He has been soloist with many orchestras, including the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan Symphony Orchestra of Boston, and he has performed in chamber music concerts at Symphony Hall, Tanglewood, and other music festivals. A winner of the Jeunesses Musicales auditions, he has toured the United States twice with the New York String Sextet and appeared as a member of the Fine Arts Quartet. Mr. Miller is founder and music director of the Boston Artists Ensemble, now in its 31st season with chamber music series in Newton and Salem. The BAE has received grants from the National Endowment for the Arts, the New England Foundation for the Arts, and the Massachusetts Council for the Arts. In 1980, during its first season,

34 the Boston Artists Ensemble performed twenty live concerts heard on WGBH-FM in Boston and broadcast simultaneously nationwide. Mr. Miller has taught at the New England Conservatory, the Boston University Tanglewood Institute, and Boston Conservatory. In June 1990, at the invitation of Mstislav Rostropovich, he appeared as soloist at the American Cello Congress performing both Victor Herbert’s Cello Concerto and the solo part in a newly written piece for eight cellos by Gunther Schuller. At the 1996 American Cello Congress he performed music of Janáˇcek and Bach. He has recorded two volumes of Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records, and is a founding member of the Gramercy Trio, which received a Copland Fund Grant for its first CD, “Shadow Bands,” on Newport Classics. The Gramercy Trio has performed in New York City three times, each time to enthusiastic critical notice, and recently gave the world premiere of a Piano Trio by Gunther Schuller, made possible with a commissioning grant from Chamber Music America awarded in competitive audition. Mr. Miller performs on a cello by Matteo Goffriller, the “Paganini-Piatti” built in Venice in 1700. He plans to continue commissioning and playing new works of chamber music for the Gramercy Trio and Boston Artists Ensemble, including premieres in the 2015-16 season of a piano trio by Matthew Aucoin and a cello-piano sonata by Judith Weir. He looks forward to maintaining his associations with the BSO, and also to having more time for his many hobbies, which include antique collecting, adventure travel, and the game of Go. WILLIAM SHISLER was born and grew up in Eugene, Oregon. His parents, though not musical themselves, thought their son should have musical training, so he began studying violin at the age of six and a few years later took up clarinet. He continued his violin studies at the University of Oregon, interrupted by two years of military service, and then enrolled at the New England Conservatory, where he earned a bachelor’s degree in violin and a master’s degree in viola, which he continued to play for many years on a freelance basis. From 1953 to 1957, Mr. Shisler toured the United States with Arthur Fiedler and the Boston Pops Orchestra, acting as librarian, violist, and percussionist, as well as Mr. Fiedler’s chauffeur. In 1957 he joined the Boston Symphony Orchestra as a librarian. He became Mr. Fiedler’s personal librarian and recalls that coordinating the music for Fiedler’s extensive musical activities was a great challenge. Today he continues to keep busy with photography, boating, and “general handyman duties.” Mr. Shisler was married to the late harpist Carol Baum, who occasionally played with both the BSO and Boston Pops. Walter H. Scott

TANGLEWOODWEEK 4 FAREWELL, THANKS, ANDALLBEST 35 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, July 27, 2:30pm THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS CONCERT

JACQUES LACOMBE conducting

This concert is dedicated to the memory of esteemed conductor Rafael Frühbeck de Burgos, who was a much beloved presence with the Boston Symphony Orchestra both at Symphony Hall and at Tanglewood, and who was originally to have conducted this afternoon’s performance. We are grateful that Jacques Lacombe, who makes his BSO debut this afternoon, was available at short notice to conduct this concert. The program remains unchanged.

RACHMANINOFF Piano Concerto No. 2 in C minor, Opus 18 Moderato Adagio sostenuto Allegro scherzando GABRIELA MONTERO

{Intermission}

This year’s Boston Symphony Orchestra retirees will be acknowledged on stage at the end of this concert (see page 33).

This afternoon’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus. This afternoon’s performance of Rachmaninoff’s Piano Concerto No. 2 is supported by a gift from Lonnie and Jeffrey Garber.

36 VERDI Overture to “Nabucco” “Va, pensiero” (Chorus of the Hebrew Slaves) from “Nabucco”

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Triumphal Scene (Act II, scene 2) from “Aida”

MARJORIE OWENS, soprano (Aida) ELIZABETH BISHOP, mezzo-soprano (Amneris) ISSACHAH SAVAGE, tenor (Radames) STEPHEN POWELL, baritone (Amonasro) MORRIS ROBINSON, bass (Ramfis) JULIEN ROBBINS, bass (The King of Egypt) TANGLEWOOD FESTIVAL CHORUS

Please note that texts and translations are being distributed separately.

The Boston Symphony Association of Volunteers Concert Sunday, July 27, 2014 The performance on Sunday afternoon is named in honor of the Boston Symphony Association of Volunteers (BSAV). The BSO has relied on the assistance of volunteers for decades, but in 1984, a group of loyal and dedicated supporters of the BSO and Tanglewood first joined forces to ensure that all aspects of the BSO’s many educational, service, and fundraising initiatives were top-notch. Members of the BSAV are instrumental in helping the BSO carry out its musical mission. BSAV members play a vital role in many BSO initiatives and programs, such as the Instrument Playgrounds, flower decorating, exhibit docents, and Tanglewood Family Fun Fest, among many others. And if you have ever visited the Symphony Shop or Tanglewood Glass Houses, engaged the assistance of an usher at Tanglewood, or taken a tour of Symphony Hall or the Tanglewood campus, then you have likely encountered a member of the BSAV in action. During the 2012-13 season, some 675 volunteers donated more than 24,000 hours of their time in passionate support of the BSO. The BSAV continues to be a valued partner in helping the BSO maintain its legacy of musical excellence and sustain its community and educational outreach to spread the joy of music far and wide.

TANGLEWOODWEEK 4 SUNDAYPROGRAM 37 IN MEMORIAM Rafael Frühbeck de Burgos September 15, 1933 – June 11, 2014 Stu Rosner

Rafael Frühbeck de Burgos conducts the Boston Symphony Orchestra in April 2011 at Symphony Hall.

From the Members of the Boston Symphony Orchestra The death of Maestro Rafael Frühbeck de Burgos was met earlier this summer with profound sadness and regret by the musicians of the Boston Symphony Orchestra. His collaboration with the orchestra was a remarkable partnership, spanning decades and a wide range of repertoire, all of it marked by a special blend of chem- istry and rapport. Precision, style, and discipline were hallmarks of his approach to music-making on the podium. His musical interpretations were characterized by a harmonious blend of proportion, command, and a thorough knowledge of the repertoire. His dignity, unique sense of humor, and respect for the orchestra were appreciated by all. Performances with Maestro Frühbeck of works by the Spanish composers Falla and Albéniz, orchestral arrangements of his own creation, and other great works of the symphonic repertoire were memorable and enjoyable occasions for BSO musicians and audiences alike. Stepping in on short notice to conduct several critical performances, Maestro Frühbeck commanded boundless admiration and respect from the BSO, and earned a special place in the hearts of its musicians. His presence will be greatly missed by everyone at Tanglewood and at Symphony Hall in Boston.

From BSO Artistic Administrator Anthony Fogg Rafael Frühbeck de Burgos was a consummate professional, in the very best sense, and working with him was both a pleasure and an honor. It was also, and at all times, very entertaining. Rafael—as those of us in the BSO administration were instructed to call him—was, from a management perspective, the most straightforward of collaborators. Within

38 one, maybe two discussions, the final selection of works was agreed upon for any particular program, and rarely were there second thoughts or misgivings. He immediately understood and accepted anomalies of scheduling or planning, for which he always had creative solutions. He was open to working with soloists who were new to him, and trusted my recommendations of singers for the vocal projects that he led with such authority. He was completely self-sufficient in terms of his day-to-day needs and rarely requested special help or attention. Rafael was never less than 100% prepared for whatever repertoire he was conducting. There was always a ritual of greeting him on the first day of rehearsals, to be proudly shown the “mistakes” he had discovered in the printed score of the composition he was about to work on. In one classic case, his emendations to a passage in Ravel’s Concerto for the Left Hand—corrections which he alone had realized, despite many previous performances of the work—led to a lively written exchange with another BSO guest conductor, who had heard about and disputed Rafael’s touch-ups. Then there was the case of a Hindemith score in which he’d found a misprint in the main theme of the fugue. When we produced the original manuscript of the work from the BSO archives—in which the same “misprint” appeared in the composer’s own handwriting—Rafael quickly asserted that Hindemith himself had made the error when writing down the passage! He was also a great raconteur. Rafael’s rhetoric was always spiced with colorful superlatives—“fabulous,” “tremendous,” “superb, superb,” “a great success”—or endearing phrases of self-deprecation. “After 60 years, I’m finally learning how to conduct,” he would proclaim in his inimitable accent. That distinctive vocal color, in combination with his signature wardrobe of rehearsal shirts and generous application of Aqua Brava cologne, gave a sense of theater to Rafael’s periods at Symphony Hall and Tanglewood. As we remember many years of great concerts and friendship, we will all miss this unique and wonderful artist.

From Tanglewood Festival Chorus Conductor John Oliver My grief at Rafael’s death springs not just from his cherished place in my life as a musical collaborator, but also from the fact that he was a close friend. His joy in making music was the same joy he found in walking through my garden (he often endearingly said that “John grows the best tomatoes in America!” in that inimitable, clarion voice and with the same delight he found in everything), and in sharing the stories of his wonderful life experience at my table and inviting me and my friends to do the same. His words, his thoughts about things large and small, echo through the corridors of my mind and always will.

TANGLEWOODWEEK 4 INMEMORIAM 39 NOTES ON THE PROGRAM

Sergei Rachmaninoff (1873-1943) Piano Concerto No. 2 in C minor, Opus 18 First performance: November 9, 1901, Moscow, Alexander Siloti cond., Rachmaninoff, soloist (Siloti having previously led a performance of just the second and third movements on December 15, 1900, also in Moscow with the composer). First BSO performance: December 3, 1908, New York, Max Fiedler cond., Ossip Gabrilowitsch, soloist. First Tanglewood performance: July 27, 1946, Serge Koussevitzky cond., Eugene List, soloist. Most recent Tanglewood performance: July 17, 1998, James Conlon cond., Van Cliburn, soloist. By January of 1900, the twenty-six-year-old Rachmaninoff had already acquired something of an international reputation as a composer. Alexander Siloti, his first cousin and also one of his piano teachers at the Moscow Conservatory, had in the autumn of 1898 toured Europe, England, and America. Of the music that Siloti programmed, it was Rachmaninoff’s C-sharp minor Prelude for piano—which, frustrated by the piece’s popularity, the composer came simply to call “It”—that outdistanced all else in popularity, particularly in America and England, and Siloti arranged for Rachmaninoff to appear with the Lon- don Philharmonic Society as conductor and pianist in the spring of 1899. For that occasion Rachmaninoff promised the Londoners a new concerto, one he hoped would be better than his First in F-sharp minor, which he had completed in July 1891 while still a student and would ultimately revise in the fall of 1917. But the hope for a new concerto was not realized. As late as July 1899, Rachmaninoff complained that “My musical matters go very badly.” Both that summer and the following autumn were unproductive. His depression and feelings of inadequacy as a composer—feelings dating back to the dreadful failure of his First Symphony at its premiere in 1897, on which occasion César Cui famously wrote that “If there were a conservatory in Hell, if one of its gifted students were given the assignment of writing a program symphony on the Seven Plagues of Egypt, if he were to write a symphony just like Mr. Rachmaninoff’s, he would have carried out his task brilliantly and given acute delight to the inhabitants of Hell”—worsened steadily. Then, a concerned party arranged for him to meet novelist Leo Tolstoy, whom the young composer idolized. It was hoped that Rachmaninoff’s “god” would offer him enough encouragement to restore his self-confidence, but the two meetings early in 1900—one of them in the company of the great Russian bass Fyodor Chaliapin—only revealed Tolstoy to Rachmaninoff as “a very disagreeable man” (the composer’s words) and made matters worse. Certainly Tolstoy’s response to hearing Rachmaninoff and Chaliapin perform one of Rachmaninoff’s songs—“Tell me, do you really think anybody needs music like that?”—would not have helped. Meanwhile, Siloti had agreed to support Rachmaninoff for two years so that his cousin could devote himself entirely to composing. Around this same time, though, and more important, Rachmaninoff was persuaded to seek outside help in the person of one Nikolai Dahl, a psychiatrist who for some years had been specializing in treatment by hypnosis. From January to April of 1900 the composer saw Dahl daily, the purpose of these meetings being to help Rachmaninoff sleep soundly, brighten his daytime mood, improve his appetite, and reawaken his desire to compose. More specifically, the sessions focused on the long-overdue concerto: “You will begin to write your concerto.... You will work with great facility.... The concerto will be of excellent quality.... ” were phrases that Rachmaninoff heard repeatedly.

40 “Although it may sound incredible,” Rachmaninoff recalled later, “this cure really helped me. By the beginning of the summer I again began to compose. The material grew in bulk, and new musical ideas began to stir within me—more than enough for my concerto.” The precise components of the “cure” are shrouded in mystery, but we do know that Dahl was an accomplished amateur musician, music lover, and organizer of chamber music evenings as well as a psychiatrist and hypnotist, and it would seem that the conversations on musical topics between doctor and patient probably played as important a part as the rest. In any event, Rachmaninoff completed the second and third movements that summer. These were played for the first time on December 15, 1900, at a benefit concert in Moscow for the Ladies’ Charity Prison Committee (aimed at alleviating the suffer- ing of prisoners) with Rachmaninoff at the keyboard and Siloti conducting. The music scored a huge triumph with the audience. The reviewer for the Russian Musical Gazette commented on the work’s “poetry, beauty, warmth, rich orchestration, healthy and buoyant creative power,” noting also that “Rachmaninoff’s talent is evi- dent throughout.” The composer went on to finish the first movement, and the completed work, dedicated “to Mr. N. Dahl,” was premiered by the Moscow Phil- harmonic on November 9, 1901, with the same combination of soloist and conductor. The concerto’s success was complete—it went on to become one of Rachmaninoff’s most popular works, along with the piano prelude already mentioned—and Rach- maninoff’s confidence in his abilities as a composer was restored. By midway through the twentieth century, and likely in response to the too frequent performance of certain works, Rachmaninoff’s particular brand of romanticism was falling from favor, and his reputation as a composer suffered correspondingly. Nor did the popularization of his music through such songs as “Full Moon and Empty Arms” (on a tune from the finale of the Second Concerto) help to strengthen his place in the minds of so-called “serious” musicians or critics. But fortunately the tide turned again, and today no one fails to recognize what makes the composer’s musical voice so appealingly distinctive. As the important Tchaikovsky biographer David Brown has observed, “Rachmaninoff was a true creative individual, if not a great one.” Of the Second Concerto, Brown notes that “in no other work did Rachmaninoff exploit more vigorously his purely melodic gifts, nor ever create a piece more coher- ent, either expressively or thematically.” Those lush, sinuous melodies; the composer’s concentration on rich string sonorities and dark orchestral colors; his crafty inter- mingling of piano and orchestra, and, as Michael Steinberg puts it, “a sense of effortlessness in its unfolding, which is surely related to the confidence he had gained in Dr. Dahl’s deep leather armchair and, more broadly, from the growing feeling that he was after all built to survive”—all are readily apparent in the C minor piano concerto. The final cadence is one not just of assertion, but of triumph.

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

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 41 42 Giuseppe Verdi (1813-1901) Overture and “Va, pensiero” (Chorus of the Hebrew Slaves) from “Nabucco” Triumphal Scene (Act II, scene 2) from “Aida” First performance of “Nabucco”: March 9, 1842, Teatro alla Scala, Milan, Italy. First performance of “Aida”: December 24, 1871, Cairo, Egypt. The only previous BSO performances of any music from “Nabucco” were of an unspecified aria on November 11, 1886, in Lynn, MA, with Wilhelm Gericke conducting and soloist Maud Starkweather; and of “Va, pensiero” on two occasions: on August 8, 1998, at Tanglewood, with Seiji Ozawa and the Tanglewood Festival Chorus; and on May 5, 1999, at the Tokyo International Forum with Ozawa and the Shinukai Chorus. The only previous BSO performances of any music from “Aida” were of “Ritorna vincitor!”—the title character’s first-act aria—on July 27, 1909, in Cleveland, with soloist Mrs. S.C. Ford, Max Fiedler conducting; and later on March 22 and 26, 1923, in Cambridge and Boston, respectively, with soloist Ester Ferrabini Jacchia, Pierre Monteux conducting; and, much later, of “O patria mia”— Aida’s third-act aria—on July 24, 1966, at Tanglewood, with soloist Jane Marsh, Erich Leinsdorf conducting. Opera is the most complex and time-consuming of musical genres, fraught with countless musical, theatrical, and logistical problems to be solved—not to mention the sheer number of notes needed to add up to the expected three or more hours of music. It also requires the most cooperation with others (librettists, impresarios, directors, and so on, as well as, in some cases, politicians and censors). Consequently, most composers, if they attempt to write operas at all, succeed in completing relatively few. Verdi was a gloriously prolific exception. Over the course of about fifty years, he wrote twenty-seven operas, beginning with a dizzying stretch from 1839 to 1850 during which he completed a total of fifteen—a pace of more than one opera per year. After that, his rate of composition slowed somewhat, but the music only got better. Very good operas gave way to great ones, and the resulting resume of iconic masterpieces (Rigoletto, La traviata, Il trovatore, Don Carlo, Otello, and Falstaff, to name just a handful) makes Verdi a contender for the title of greatest- ever opera composer, a competition in which he has only a few real competitors. This evening’s program features excerpts from operas at opposite ends of Verdi’s remarkable career: Nabucco, which premiered in 1842, was the composer’s third opera and the first to achieve significant success, while Aida, dating from 1871, was his third-to-last. “Nabucco” is based on the biblical story of the Babylonian emperor Nebuchadnezzar (in Italian, “Nabucodonosor,” which is the official title of Verdi’s opera, though no one ever calls it that) and his conquering and exile of the Jews, with a libretto by Temistocle Solera. It was not only the composer’s first popular success, but also the work that gave Verdi the psychological fortitude to continue composing at all: Un giorno di regno (“King for a Day”), his second opera, had been so poorly received that Verdi renounced composition altogether, withdrew from a contract with La Scala, and “no longer thought about music,” as he explained it later in his life. It took admonishments, reassurances, and entreaties from impresario Bartolomeo Merelli, who ultimately forced the libretto for Nabucco into Verdi’s pocket and thrust him out the door, to refocus the composer’s mind. Grudgingly, Verdi set to work, and soon enough he had written the opera. Musically, Nabucco marks Verdi’s first use of an almost oratorio-like style that would become a signature of his, prominently featuring the chorus and giving it some of the opera’s most exquisite and memorable music. We hear a perfect example of this

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 43 Stu Rosner

44 tonight in “Va, pensiero” (also known as the Chorus of the Hebrew Slaves), the show-stopping Act III choral number in which the captive Jews poetically pine for Jerusalem. The scene was particularly appreciated in Verdi’s day by supporters of the Risorgimento, who chafed under Austrian rule and had no trouble imagining themselves in the place of the Hebrews. The Overture, a relatively traditional collection of melodies from throughout the opera (including that of “Va, pensiero”), sets the mood with martial marching rhythms, quasi-religious hymnlike refrains, and expansive, sweeping gestures. “Aida,” since its premiere one of Verdi’s most popular operas, is also his greatest theatrical spectacular, providing for opera companies through the ages an irre- sistible opportunity to outdo their predecessors and rivals in the extravagance of the sets, costumes, and cast (of humans and often a menagerie of animals) that depict and populate Verdi’s ancient Egypt. The story—setting an Italian translation by Antonio Ghislanzoni of a French libretto by Camille du Locle, though Verdi bullied all involved sufficiently that the text could justifiably be considered the composer’s own creation—is a standard trope featuring star-crossed lovers from warring nations (Egypt and Ethiopia, in this case), with the unrequited love of a third party to complete the triangle. Act II, scene 2, commonly referred to as the Triumphal Scene, takes place in the Egyptian city of Thebes as the victorious army returns from Ethiopia, the soldiers and beasts of burden processing through the city and showing off their captives and spoils of war while the King, his daughter Amneris, and Aida, Amneris’s Ethiopian slave, look on. Among the procession is Radames, leader of the army and hero of the hour, with whom both Aida and Amneris are in love, borne on a litter. In recognition of Radames’s victory, the King offers to grant him any request. Radames asks that the Ethiopian prisoners—among whom is Amonasro, Aida’s father and the King of Ethiopia—be spared and set free; after arguments from the priests, who want the prisoners executed, the King compromises, keeping Amonasro as a hostage and releasing the rest. To reward Radames further, the King offers him Amneris’s hand in marriage, and the crowd reacts ecstatically. Aida’s Triumphal Scene is the closest Verdi ever came to writing in the traditional French grand opera style, and its parade of rousing, infectious tunes—which provides ample opportunity for each of the principals and various combinations thereof, as well as the massive chorus, to shine—is fully the equal of the resplendent procession taking place on stage. It also displays the kaleidoscopic and nuanced quasi-Egyptian sound-world that Verdi developed for Aida, which represents perhaps his greatest achievement in the realm of orchestration. The combined impact of all this is sufficient that, though the scene spans just some twenty-five minutes of the opera’s two- and-a-half hours, its grandiose atmosphere and festive character are what immediately come to mind when most opera lovers think of Aida, despite the intimate and often melancholy nature of most of the rest of the work.

JAY GOODWIN New York-based annotator Jay Goodwin has written for the Metropolitan Opera, Boston Symphony Orchestra, Juilliard School, and Australian Chamber Orchestra. Currently on the editorial staff at Carnegie Hall, he was the Tanglewood Music Center’s Publications Fellow in 2009.

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 45 Guest Artists

Jacques Lacombe Music director of both the New Jersey Symphony Orchestra and the Orchestre symphonique de Trois-Rivières, Jacques Lacombe previously served as principal guest conductor of the Montreal Symphony, music director of the Philharmonie de Lorraine, and associate conductor of the Orchestre Lyrique de Région Avignon Provence. In September 2010, he succeeded Neeme Järvi as music director of the New Jersey Symphony Orchestra, a contract that was recently extended through 2016. Under his leadership, the NJSO’s “Man & Nature” winter festivals have included celebrated performances of Tan Dun’s Water Concerto, Scriabin’s Prometheus: The Poem of Fire—with a realization of the composer’s “color organ”— and the commissioning of the Francesca Harper Project to create original cho- reography for Beethoven’s ballet The Creatures of Prometheus. He also created the multi-year “New Jersey Roots Project,” featuring contemporary works by New Jersey composers. His 2013-14 season included guest appearances with the Montreal, Quebec, and Columbus symphony orchestras, as well as NJSO programs featuring the world premieres of jazz pianist Geri Allen’s Stones and Streams and Lowell Liebermann’s Barcarolles for a Sinking City, as well as the North American premiere of Tan Dun’s Earth Concerto. Opera engagements included the Opéra de Monte Carlo, Opéra national du Rhin in Strasbourg, and Angers Nantes Opéra. In his 2012 Carnegie Hall debut, Mr. Lacombe received national recognition for leading Busoni’s epic Piano Concerto with the NJSO and soloist Marc-André Hamelin. He and the Orchestre symphonique de Trois-Rivières were recently nominated for a Juno Award for their recording of André Gagnon’s and Michel Tremblay’s Lettres de Madame Roy à sa fille Gabrielle. He has worked with orchestras throughout North America and Europe, as well as the Victoria Orchestra (Melbourne) and the New Zealand Symphony Orchestra. His work in opera includes La bohème and Tosca at Covent Garden, the world premiere of John Estacio’s Lillian Alling with Vancouver Opera, Le Cid and the world premiere of Marius et Fanny with l’Opéra de Marseille, and many productions with Deutsche Oper Berlin. He has recorded for the CPO and Analekta labels, and leads Janáˇcek’s Suite from The Cunning Little Vixen and Orff’s Carmina burana on a recent New Jersey Symphony Orchestra release. Born in Cap-de-la-Madeleine, Québec, Jacques Lacombe received his musical training at Montreal’s Conservatoire de Musique and Vienna’s Hochschule für Musik. A Chevalier de l’Ordre national du Québec, he received the Queen Elizabeth II Diamond Jubilee Medal, and in 2013 was appointed a Member of the Order of Canada.

Gabriela Montero Gabriela Montero’s engagements have included acclaimed performances with most of the major U.S. orchestras, the Philharmonia Orchestra at the Royal Festival Hall, and WDR Sinfonieorchester Köln. In August 2012 at Tanglewood she performed John Williams’s arrangement of Air and Simple Gifts, with Yo-Yo Ma, Gil Shaham, and Anthony McGill in the gala concert celebrating John Williams’s 80th birth- day, which the trio had performed at President Obama’s inauguration in 2009. Ms. Montero has collaborated with such conductors as Claudio Abbado, Gustavo Dudamel, James Gaffigan, Lorin Maazel, Yannick Nézet-Séguin, and Leonard Slatkin. In recital she has appeared throughout North and South America and in Europe. During the 2013-14 season, she appeared with the Orquesta Sinfónica Nacional under Carlos Miguel Prieto, the Dresden Philharmonic, Austin Symphony Orchestra, NDR Radiophilharmonie, Gävie Symphony Orchestra, Zurich Kammerorchester, Erie Philharmonic, Solistes Européens Luxem-

46 bourg, and the Gewandhaus Orchestra under Sir Roger Norrington. At Komische Oper Berlin, she improvised a score to the classic silent film Nosferatu, and in Baden- Baden she performed at a New Year’s Gala. Also recognized for her improvisatory skills, Ms. Montero, after performing in recital or with orchestra, often invites her audience to suggest a melody for improvisation. Wishing to take her improvisations to the next logical step of composition, she has recently written a new work for piano and orchestra entitled ExPatria, which she premiered with the Academy of St. Martin in the Fields in a concert also featuring Ms. Montero performing Beethoven’s Emperor Concerto as well as her solo improvisations. She has twice been invited as a featured speaker to the World Economic Forum in Davos, Switzerland, and participates in the Women of the World Festival at London’s Southbank Centre. She received the 2012 Rockefeller Award for her contributions to the arts. She has recorded music by Rach- maninoff, Chopin, and Liszt; a CD of improvisations, and “Bach and Beyond,” improvisations on themes by Bach. Her most recent recording, “Solatino,” is devoted exclusively to works by Latin American composers and her improvisations on Latin themes. Born in Caracas, Venezuela, Gabriela Montero gave her first public performance at age five. At age eight she made her concerto debut in Caracas and was granted a scholarship from the Venezuelan government to study in the United States. She currently resides in Massachusetts with her two daughters. She makes her Boston Symphony Orchestra debut with this afternoon’s concert.

Marjorie Owens A Grand Finals Winner of the Metropolitan Opera National Council Auditions and a member of the Ensemble of the Sächsische Staatsoper in Dresden, soprano Marjorie Owens appears this season with her home company as Senta in Der fliegende Holländer, Elisabeth in Tannhäuser, Mimì in La bohème, Ariadne in Ariadne auf Naxos, Dorotka in Weinberger’s Švanda Dudák, Liù in Turandot, and Freihild in Strauss’s Guntram. She also sings with New Orleans Opera and her first performance of Strauss’s Four Last Songs in Palermo. Future performances include her Metropolitan Opera debut and returns to Dresden and Palermo. In the U.S. she has sung with Des Moines Metro Opera, Fort Worth Opera, and Boston Lyric Opera. In concert she also sang a recital for the George London Foundation in New York, music by East German composers with the American Symphony Orchestra at Avery Fisher Hall, and a Weber recital at Bard College. Marjorie Owens was a member of Lyric Opera of Chicago’s Ryan Opera Center for two seasons. After receiving a bachelor’s degree from Baylor University, she was accepted into the Houston Grand Opera Young Artist Studio. She has been recognized with prizes from the Gerda Lissner Foundation Competition, the Licia Albanese Puccini Foundation, the Fort Worth Marguerite McCammon Competition, the Dallas Opera Guild Career Development Grant for Singers Competition, and the McCollum Competition, as well as the Leonie Rysanek award from the George London Foundation and a William Matheus Sullivan Grant. This afternoon’s performance marks her BSO and Tangle- wood debuts.

TANGLEWOODWEEK 4 GUESTARTISTS 47 Elizabeth Bishop Making her BSO and Tanglewood debuts this afternoon, American mezzo-soprano Elizabeth Bishop returned this season to the Metropolitan Opera for La sonnambula and I puritani, Washington National Opera as Brangäne in Tristan und Isolde, Pittsburgh Opera as Amneris in Aida, and to the New Jersey Symphony Orchestra for Mahler’s Das Lied von der Erde under Jacques Lacombe. She sang Berlioz’s La damnation de Faust with the Richmond Symphony and Mahler’s Symphony No. 3 with the Detroit Symphony Orchestra. This summer she sings Verdi’s Requiem with the New Hampshire Music Festival, and next season returns to Washington National Opera as Mère Marie in Poulenc’s Dialogues des Carmélites. Recent season highlights include Les Troyens and Das Rheingold at the Metropolitan Opera, and Mère Marie at Washington National Opera; concert performances as Sieglinde in Act I of Die Walküre and the “Liebestod” from Tristan und Isolde for North Carolina Opera; Azucena in Il trovatore with Utah Opera, and Verdi’s Requiem with the Grand Teton Music Festival under Donald Runnicles. She has performed frequently with the Metropolitan Opera since her debut with the company in 1994, and has sung often with Los Angeles Opera, Washington Concert Opera, Pittsburgh Opera, and San Francisco Opera; the Concertgebouw in Amsterdam, Florida Orchestra, and the Chautauqua Institution. Career highlights include multiple appearances with Washington National Opera; acclaimed performances at the Grand Teton Music Festival and Portland Opera; and Beethoven’s Symphony No. 9 with both the Atlanta Symphony Orchestra under Robert Spano and the Philadelphia Orchestra under Charles Dutoit. A former Adler Fellow and member of San Francisco Opera’s Merola Program, Ms. Bishop has returned there as Tisbe in La Cenerentola, the Mother in Harvey Milk (recorded for Teldec), Antonia’s Mother in Les Contes d’Hoffmann, and Second Lady in The Magic Flute. Solo recitals have taken her to San Francisco and Tokyo, as well as to the United States Supreme Court in Washington, D.C. She is a former member of the Juilliard Opera Center and a winner of the 1993 Metropolitan National Council Auditions.

Issachah Savage Making his BSO and Tanglewood debuts this afternoon, dramatic tenor Issachah Savage is the grand prize-winner of the 2012 Marcello Giordani International Competition. In the 2013-14 season, Mr. Savage made his Houston Grand Opera debut as Radames in Aida opposite Liudmyla Monastyrksa and Dolora Zajick, and joined the Washington Chorus at the Kennedy Center for Act II of Aida. In summer 2013, he participated in San Francisco Opera’s Merola Program, singing the finale of Lohengrin at the Merola Grand Finale concert. Other performances include the last act of Otello in the Schwabacher Summer Concert series, the world premiere of Wynton Marsalis’s All Rise with Kurt Masur and the New York Philharmonic, the world premiere of Leslie Savoy Burr’s Egypt’s Night with Philadelphia’s Opera North, Gershwin’s Blue Monday with Marin Alsop and the Baltimore Symphony, Massenet’s La Navarraise with the Opera Orchestra of New York alongside Elīna Garanˇca, and his role debut as Radames at Opera Carolina. The tenor’s special talents were recognized early on by the Marian Anderson Society of Philadelphia, where he was honored as its first Scholar Artist and then again in 2009 as a prizewinner in its Classical Icon competition. He has received two first-place prizes in the esteemed Liederkranz Foundation competition, most recently in the 2012 Wagner Division and for General Opera in 2009. Born into a musical and religious family in the Philadelphia area, Issachah Savage gave his first public performance in church at age five. He attended Philadelphia’s High School for Creative and Perform-

48 ing Arts (CAPA), where the choral director, David King, first introduced him to opera. Issachah Savage holds a bachelor’s degree in vocal performance from Morgan State University and a master’s degree in opera voice performance from the Catholic Uni- versity of America.

Stephen Powell In the 2013-14 season American baritone Stephen Powell returned to Los Angeles Opera as Enrico in Lucia di Lammmermoor; to San Diego Opera as Tonio in I pagliacci; to the Atlanta Symphony Orchestra for Britten’s War Requiem (also at Carnegie Hall); to the St. Louis Symphony Orchestra for Bach’s Christmas Oratorio; and to the Nashville Symphony Orchestra for Brahms’s German Requiem. Also in 2013-14 he made his role debut as Falstaff in his Virginia Opera debut and sang Germont in La traviata with both Michigan Opera Theatre and the Orlando Philharmonic Orchestra. Recent and upcoming engagements include returns to the Caramoor Festival as Rigoletto, the Minnesota Orchestra for Carmina burana, and to Virginia Opera for the title role in Sweeney Todd. With New York City Opera he performed the title role in Hindemith’s Mathis der Maler, stepping in at the last moment, and has returned there for the title role in Il ritorno d’Ulisse in patria, Papageno, Ford, Sharpless, Enrico in Lucia di Lammermoor, and Zurga in Les pêcheurs de perles. At the Metropolitan Opera he has been Ping in Turandot and Shchelkalov in Boris Godunov, and with Glimmerglass Opera, Ford in Falstaff and Malatesta in Don Pasquale. Mr. Powell has collaborated with such conductors as Andrew Litton, Charles Dutoit, Christoph Eschenbach, Leonard Slatkin, Paavo Järvi, Marin Alsop, Edo de Waart, Grant Llewellyn, Antony Walker, Carlos Kalmar, and Michael Tilson Thomas. He created the role of Felipe Nuñez in the world premiere of The Conquistador with San Diego Opera, and performed and recorded Bach’s Magnificat with Boston Baroque. An alumnus of the Lyric Opera of Chicago Center for American Artists, Stephen Powell performs regularly in recital, often with his wife, soprano Barbara Shirvis, and has given master classes at many U.S. universities. He makes his Boston Symphony Orchestra debut this afternoon.

Morris Robinson Morris Robinson is quickly gaining a reputation as one of today’s most interesting and sought-after basses. A graduate of the Metropolitan Opera Lindemann Young Artist Development Program, Mr. Robinson made his debut at the Metropolitan Opera in Fidelio. He has since appeared there as Sarastro in The Magic Flute, Ferrando in Il trovatore, the King in Aida, and in roles in Nabucco, Tannhäuser, and new productions of Les Troyens and Salome. He has also appeared with the opera companies of San Francisco, Chicago, Dallas, Houston, Pittsburgh, Phila- delphia, Seattle, Los Angeles, Cincinnati, Boston, St. Louis, and Vancouver, as well as Florida Grand Opera, Wolf Trap Opera, and the Aix-en-Provence Festival. Also a prolific concert singer, Mr. Robinson has appeared with the Chicago, Atlanta, Nashville, National, Houston, Montreal, Fort Worth, São Paulo, and Baltimore symphony orchestras, the Met Chamber Orchestra, New England String Ensemble, and at such music festivals as Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier, and Aspen. He appeared in Carnegie Hall as part of Jessye Norman’s HONOR! Festival, and has been presented in recital by Spivey Hall in Atlanta, the Savannah Music Festival, the National Academy of Sciences in Washington, D.C., the Philadelphia Chamber Music Society, and New York’s Metropolitan Museum of Art. Mr. Robinson’s first album, “Going Home,” was released on the Decca label. In the current season, Mr. Robinson made debuts at Australian Opera as Sarastro and at Boston Lyric Opera as Sparafucile, and returned to Opera Philadelphia for his role

TANGLEWOODWEEK 4 GUESTARTISTS 49 debut as Zaccaria in Nabucco. The summer brings a return engagement with San Francisco Opera as Joe in Show Boat, and next season he returns to Houston Grand Opera in both Otello and The Magic Flute, and to Opera Philadelphia as the Grand Inquisitor in Don Carlos. An Atlanta native, Morris Robinson is a graduate of The Citadel and received his musical training from the Boston University Opera Institute. In 2006 he sang the Commendatore in a concert performance of Mozart’s Don Giovanni with the Tanglewood Music Center Orchestra under James Levine; his only BSO appearance was also at Tanglewood, as Osmin in Mozart’s Abduction from the Seraglio in July 2010.

Julien Robbins American bass-baritone Julien Robbins has sung more than fifty roles at the Metropolitan Opera since his debut. Internationally the Pennsylvania native has appeared in productions of Don Giovanni, Le nozze di Figaro, La bohème, Aida, Carmen, Trouble in Tahiti, Il barbiere di Siviglia, Otello, Le comte Ory, and Un ballo in maschera with such companies as Milan’s Teatro alla Scala, Berlin’s Deutsche Oper, Hamburg Staatsoper, Lisbon Opera, L’Opéra de Nice, and Opéra de Monte Carlo, as well as in São Paulo, Brazil, and at the Glyndebourne Festival. A frequent guest of such U.S. companies as San Francisco Opera, Lyric Opera of Chicago, Florida Grand Opera, Washington Opera, Spoleto Festival USA, and the opera companies of San Diego, Baltimore, Los Angeles, Santa Fe, Philadelphia, and Cincinnati, he has made appearances on the concert stage in I Capuleti e i Montecchi with the Opera Orchestra of New York; in Beethoven’s Choral Fantasy (under Seiji Ozawa) and Berlioz’s Roméo et Juliette (under James Levine) with the Boston Symphony; in Beethoven’s Symphony No. 9 with the Israel Philharmonic under Zubin Mehta; Handel’s Messiah and Bach’s B minor Mass with New York’s Musica Sacra; and Mozart’s Mass in C at Lincoln Center’s Mostly Mozart Festival, among others. Mr. Robbins has recorded Beethoven’s Choral Fantasy for Telarc, La traviata for Deutsche Grammophon, and Salome for Sony Classical. Most recently, he has performed the roles of Leuthold in Guillaume Tell at the Concertgebouw in Amsterdam; Le Bailli in Werther at Washington National Opera; Priam in Les Troyens at the Metropolitan Opera; and Lorenzo in I Capuleti e i Montecchi at Kansas City Lyric Opera. Julien Robbins made his BSO debut in 1982 singing Beethoven’s Choral Fantasy under Seiji Ozawa and last appeared with the orchestra in Berlioz’s Les Troyens under James Levine at Tanglewood in 2008. At Tanglewood in July 2009 he sang the role of Pogner in Wagner’s Die Meistersinger von Nürnberg with the Tanglewood Music Center Orchestra, also under James Levine.

To read about the Tanglewood Festival Chorus and John Oliver, see pages 28-30. Kevin Toler

50 Tanglewood Festival Chorus John Oliver, Conductor (Verdi Excerpts from Nabucco and Aida, July 27, 2014)

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

Michele Bergonzi # • Jeni Lynn Cameron • Danni Leathers Cauley • Anna S. Choi • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette # • Diana Gamet • Bonnie Gleason • Alexandra Harvey • Eileen Huang • Donna Kim • Christiana Donal Meeks • Deirdre Michael • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Avery Peterman • Livia M. Racz • Melanie Salisbury # • Dana R. Sullivan • Sarah Telford # • Lauren Woo • Meghan Renee Zuver Mezzo-Sopranos

Anete Adams • Virginia Bailey • Betty Blanchard Blume • Lauren A. Boice • Abbe Dalton Clark • Diane Droste • Barbara Durham • Irene Gilbride # • Mara Goldberg • Rachel K. Hallenbeck • Betty Jenkins • Irina Kareva • Susan L. Kendall • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Ana Morel • Kendra Nutting • Kathleen Hunkele Schardin • Lelia Tenreyro-Viana • Cindy M. Vredeveld • Christina Wallace Cooper • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Armen Babikyan • Brent Barbieri • John C. Barr # • Richard A. Bissell # • Ryan Casperson • Jiahao Chen • Stephen Chrzan • Tom Dinger • Kevin F. Doherty Jr. • C Paul Dredge • Ron Efromson • Carey D. Erdman • Keith Erskine • Aidan Christopher Gent • Len Giambrone • James E. Gleason • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Matthew Jaquith • James R. Kauffman # • Lance Levine • Dane Lighthart • Zachary Lounsbury • Ronald J. Martin • Jonathan Oakes • Lukas Papenfusscline • Dwight E. Porter * • Peter Pulsifer • Tom Regan • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Peter L. Smith • Stephen E. Smith • Don P. Sturdy# • Martin S. Thomson • Stratton Vitikos • Andrew Wang • Joseph Y. Wang • Hyun Yong Woo Basses

Nicholas Altenbernd • Scott Barton • Greg Batcheler • Thaddeus Bell • Nathan Black • Daniel E. Brooks # • Michel Epsztein • Dylan Evans • Jeff Foley • Jay S. Gregory # • Andrew Gribbin • Jeramie D. Hammond • William Hurwitz • Nathan Kessel • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Bruce Kozuma • Carl Kraenzel • Timothy Lanagan # • Ryan M. Landry • Maxwell Levy • David K. Lones # • Christopher T. Loschen • Lynd Matt • Eryk P. Nielsen • Stephen H. Owades § • William Brian Parker • Donald R. Peck • Michael Prichard # • Sebastian Rémi • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Scott Street • Craig A. Tata • Alexander Teplansky • Samuel Truesdell • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Terry Ward • Peter J. Wender § • Channing Yu

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager

TANGLEWOODWEEK 4 GUESTARTISTS 51 The Walter Piston Society

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. ‡ This symbol denotes a deceased donor.

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

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

52 Larry and Jackie Horn • Mr. Charles A. Hubbard II ‡ • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Charles and Carolyn Jack • Emilie K. Jacobs • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mrs. H.E. Jones • Ron and Joyce Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Mr. Robert Kirzinger • Ms. Marsha A. Klein • Mason J. O. Klinck • Kathleen Knudsen • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman • Mr. George F. Krim • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Dr. Joel Robert Melamed • Henrietta N. Meyer • Edie Michelson and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Richard S. Milstein, Esq • Patricia A. Monk • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse Foundation • Mr. James Edward Mulcahy • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Chloe Nassau • Robert and Lee ‡ Neff • Anne J. Neilson • Ms. Dianna Nelson • Mary S. Newman • Michael L. Nieland, M.D. • Koko Nishino ‡ • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Annette and Vincent O’Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Nancy and Robert Payne • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins • Polly Perry • Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Wendy Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • Emily M. Reeves • John Sherburne Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Wendy H. Robbins • Elizabeth P. Roberts • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth • Pauline A. Rowe • Wallace and Carol Rowe • Arnold Roy • Joan and Michael Salke • Mr. Robert M. Sanders • Mr. Stephen Santis • The Sattley Family • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • John N. ‡ and Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Natalie K. Slater • Mrs. W. D. Sohier • Mr.s Joseph P. Solomon ‡ • Drs. Norman Solomon and Merwin Geffen • Harold Sparr and Suzanne Abramsky • Mr. and Mrs. Nick St. Cavish • Maria and Ray Stata • Thomas G. Stemberg • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Lillian C. Stone • Theresa M. and Charles F. Stone III • Mrs. Patricia Hansen Strang ‡ • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi • Diana O. Tottenham • Robert and Theresa Vieira • Mr. and Mrs. Mark Volpe • Carol A. Walker • Eileen and Michael Walker • Lyle Warner • Harvey and Joëlle Wartosky • Ms. Kathleen M. Webb • Stephen and Dorothy Weber • Allen C. West • Ron and Sandy Weston • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Richard E. Willett • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Robert W. and Sheri Olans Wright • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal Zimmerman and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (65)

TANGLEWOODWEEK 4 THEWALTERPISTONSOCIETY 53 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

Mr. Gerald Appelstein • 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 • Mr. and Mrs. Jeffrey Garber • 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

54 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 • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • 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 • Susan and Richard Grausman • 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 • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • 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 4 SOCIETYGIVINGATTANGLEWOOD 55 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 • Marillyn Zacharis • 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 • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • 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 • 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