Week 24 Rachmaninoff Shostakovich

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 24 rachmaninoff shostakovich

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 24

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 3 casts of character: the symphony statues by caroline taylor 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Sergei Rachmaninoff 45 Dmitri Shostakovich 53 To Read and Hear More…

Guest Artist

57 Daniil Trifonov

62 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on april 26 is given by bso director of program publications marc mandel.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org April 7–August 4

“Toulouse-Lautrec and the Stars of Paris” is organized by the Museum of Fine Arts, Boston, and The Boston Public Library. Sponsored by Encore Boston Harbor. Generously supported by The Boston Foundation. Additional support from the great- grandchildren of Albert H. Wiggin, the Cordover Exhibition Fund, and anonymous funders.

Henri de Toulouse-Lautrec, Aristide Bruant in His Cabaret (detail), 1893. Poster, color lithograph printed in black, red, green, and gray, proof before letters. Otis Norcross Fund. Museum of Fine Arts, Boston. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich † • Arthur I. Segel • Wendy Shattuck • Nicole Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Darcey Bartel • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. •

week 24 trustees and advisors 3 Innovation, now seating seven.

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1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

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

Membership as of March 1, 2019

† Deceased

week 24 trustees and advisors 5 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. BSO News

Subscriptions on Sale Now for the BSO’s 2019-20 Subscription Season In 2019-20, his sixth season as music director, Andris Nelsons will lead fifteen of the season’s twenty-six weeks of subscription concerts, offering an intriguingly varied mix of programming ranging from repertoire favorites to works newly commissioned by the BSO. The season is highlighted by fourteen works—including seven world and American premieres—by such contemporary composers as Michael Gandolfi, Galina Grigorjeva, Helen Grime, HK Gruber, Betsy Jolas, Eric Nathan, and Anna Thorvaldsdottir. Another highlight will be the BSO’s third “Leipzig Week in Boston,” for which occasion the Gewand- hausorchester Leipzig itself comes to Boston for concerts of its own as well as joint concerts with the BSO, marking the third year of the BSO/GHO Alliance. The 2019-20 season also brings the continuation, with Shostakovich’s symphonies 2 (To October) and 12 (The Year 1917), of the BSO’s award-winning, live-in-concert recorded Shostakovich cycle for Deutsche Grammophon; concert performances of Tristan und Isolde, Act III, headlined by tenor Jonas Kaufmann and, in her BSO debut, soprano Emily Magee; and performances under Maestro Nelsons of repertoire classics by Beethoven, Bartók, Dvoˇrák, Mahler, Rachmaninoff, Ravel, and Strauss, among others, and concerto collaborations with such renowned soloists as pianists Leif Ove Andsnes, Yefim Bronfman, Jean-Yves Thibaudet, Mitsuko Uchida, and Yuja Wang; Dutch duo-pianists Lucas and Arthur Jussen; violinists Augustin Hadelich, Leonidas Kavakos, and Daniel Lozakovich; and cellist Gautier Capuçon. Guest conductors on the BSO podium will include Alain Altinoglu, the young Greek conductor Constantinos Carydis, Christoph von Dohnányi, Giancarlo Guerrero, Marcelo Lehninger, Hannu Lintu, Susanna Mälkki, André Raphel, Sir András Schiff doubling as piano soloist, the Russian-born Dima Slobodeniouk, Christian Zacharias also doubling as piano soloist, and Pinchas Zukerman as conductor/violinist. BSO Artistic Partner Thomas Adès returns to the Symphony Hall podium, and BSO Assistant Conductor Yu-An Chang makes his subscription series debut. Soloists from the orchestra include BSO principals Blaise Déjardin, John Ferrillo, Thomas Rolfs, Elizabeth Rowe, and Richard Svoboda. Also among the guest soloists will be pianists Seong-Jin Cho, Till Fellner, Nelson Freire, and Andreas Haefliger; violinist Midori; cellists Stephen Isserlis, Truls Mørk, and Johannes Moser; organists Thierry Escaich and Olivier Latry; and the Uri Caine Trio. The Tanglewood Festival Chorus, Boston Symphony Children’s Choir, and newly formed BSO Gospel Chorus will also appear in subscription programs. Subscriptions to the Boston Symphony Orchestra’s 2019-20 season, and complete season details, are available by calling 1-888-266-1200 or by visiting www.bso.org. Single tickets go on sale August 5.

week 24 bso news 7 New England Conservatory and BSO Present “What I Hear” on Thursday, May 2, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The last of this season’s three “What I Hear” events will take place on Thursday, May 4, featuring American composer Sebastian Currier, whose BSO-commissioned new work, Aether, for violin and orchestra, will be given its world premiere performances on Thursday, Friday, and Saturday, May 2, 3, and 4, with Andris Nelsons conducting and violin soloist Baiba Skride. Admission to “What I Hear” is free.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s speaker is Marc Mandel. Next week’s speaker, for the final Friday Preview of the 2018-19 subscription season, is Robert Kirzinger.

individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Stephen and Dorothy Weber taught at Northeastern University and was a Concert, Thursday, April 25, 2019 research psychologist at Boston University Medical Center. She is an alumna of Tufts The performance on Thursday evening is University and Boston University, where she supported by a generous gift from Great earned her doctorate in education. Longtime Benefactors Stephen R. and Dr. Dorothy Saturday evening subscribers and active Altman Weber. The Webers have said, “The Tanglewood attendees, the Webers have BSO is an important part of our lives and the been supporters of the Boston Symphony performances in Boston and at Tanglewood Orchestra since 1979. They endowed the are a source of great personal joy. We believe Stephen and Dorothy Weber Chair, currently we have a responsibility to support the held by BSO cellist Mickey Katz. Steve and orchestra so future generations will continue Dottie’s love of Tanglewood led them to to experience the extraordinary musical support the campaign to build Ozawa Hall, excellence from which we have benefited.” to endow two seats in the Koussevitzky Music Steve Weber, a graduate of the University of Shed and a fellowship at the Tanglewood Pennsylvania and Harvard Business School, Music Center, and to establish the first retired in 2005 as Managing Director of endowed artist-in-residence position at the SG-Cowen Securities Corp. Dottie Weber TMC. In summer 2013, the BSO dedicated

8 the Weber Gate at Tanglewood as an and conducting as a child and teenager. enduring tribute to the Webers’ extraordinary Together, Paul and Katie developed their commitment and generosity to the BSO and lifelong love of music, and they have attended Tanglewood. the BSO’s performances at Symphony Hall and Tanglewood for more than fifty years. The In addition to their financial support of Buttenwiesers have generously supported the BSO, Steve and Dottie have also given numerous BSO initiatives, including BSO generously of their time. Elected a Trustee commissions of new works, guest artist in 2002, Steve served as vice-chair of the appearances at Symphony Hall and Board of Trustees from 2010 to 2015. He was Tanglewood, fellowships at the Tanglewood elevated to Life Trustee in 2017 and Music Center, and Opening Nights at served as co-chair of the Beyond Measure Symphony and Tanglewood. They also Campaign. Dottie served on the Ad Hoc BSO endowed a BSO first violin chair, currently in Residence Committee. Steve and Dottie held by Aza Raykhtsaum. Paul and Katie, were both members of the Annual Funds who have served on many gala committees, Committee and the Tanglewood Annual Fund chaired Opening Night at Symphony for the Taskforce, and were chairs of 2013 Opening 2008-09 season. Paul was a member of Night at Tanglewood. the Search Committee recommending the Both Dottie and Steve serve on other com- appointment of Andris Nelsons as the BSO’s munity boards in Boston, the Berkshires, Ray and Maria Stata Music Director. and beyond. Steve is chair of the ICA at the The Buttenwiesers support many arts University of Pennsylvania. In Boston, Dottie organizations in Boston and are deeply is a board member of Milton Academy, Judge involved with the community and social Baker Children’s Center, and the Celebrity justice. In 2014, Paul stepped down as Series. In the Berkshires, she co-chairs the chairman of the Institute of Contemporary Kids 4 Harmony Advisory Committee of Art, Boston, after a decade of leading the Berkshire Children and Families, and is a Board of Trustees. He is a trustee and former member of the Berkshire Children and Fami- chair of the American Repertory Theater lies Fund Development Committee. and received the A.R.T. Angel Award in The Boston Symphony Orchestra extends 2018. He is also a trustee of Partners in heartfelt thanks to Steve and Dottie Weber Health, honorary trustee of the Museum of for their commitment to continuing the Fine Arts, Boston, fellow of the American Symphony’s rich musical tradition and their Academy of Arts and Sciences, and generosity to help do so. member of the President’s Advisory Council at Berklee College of Music. A former The Catherine and Paul overseer of Harvard University, he was awarded the Harvard Medal for service in Buttenwieser Guest Artist 2010. In 1988, Paul and Katie founded the Thursday, April 25, 2019 Family-to-Family Project, an agency that Thursday evening’s appearance by Daniil works with homeless families in Eastern Trifonov is supported by a generous gift Massachusetts. Katie, who is a social worker, from Great Benefactors Catherine and spent most of her career in early child Paul Buttenwieser. Elected a BSO Overseer development before moving into hospice in 1998 and Trustee in 2000, Paul was and bereavement work. She is a graduate elevated to Life Trustee in 2017. He served of Mount Holyoke College and Boston as president of the Board of Trustees from University School of Social Work. Paul is a 2014 to 2017 and a vice-chair of the Board psychiatrist who specializes in children and of Trustees from 2010 to 2013. adolescents, as well as a novelist. He is a graduate of Harvard College and Harvard Paul’s interest in music began at a young Medical School. age, when he studied piano, violin, clarinet,

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Unleash Your Curiosity TANGLEWOOD LEARNING INSTITUTE Beginning in June 2019, the Boston Symphony Orchestra invites you to discover the Tanglewood Learning Institute and its dynamic, stimulating programs that explore how music can reveal valuable insights about ourselves and the world. Immersion Weekends Master Classes Interactive Talks Visual Arts Programs Films Curious? So are we. Welcome. TLI.ORG

10 The Gilbert Family Concert Jim was elected to the BSO Board of Friday, April 26, 2019 Overseers in 2012. He previously served as a member of the Planned Giving Committee The concert on Friday afternoon is supported and the Ad Hoc Audience Development by a generous gift from Joy S. Gilbert and Committee. Jim and Melinda are members her family in memory of Richard Gilbert, of the Higginson Society at the Encore a longtime BSO donor. The Gilbert family level. In 2013 they established a program of has provided multi-generational support to free-to-the-public tours of Symphony Hall the BSO for many years. Richard and Joy in honor of Jim’s late parents, Irving and regularly supported the Symphony Annual Charlotte Rabb. They are delighted to have Fund since 1970. The couple followed in the opportunity to sponsor this performance. the footsteps of Richard’s parents, Sara and Moses Gilbert, who often sat with Mrs. Koussevitzky at Symphony Hall. Joy BSO Broadcasts on WCRB has continued her Symphony subscription BSO concerts are heard on the radio at 99.5 and Annual Fund support, and she has WCRB. Saturday-night concerts are broad- been a subscriber to the BSO for over six cast live at 8 p.m. with host Ron Della Chiesa, decades. Richard and Joy introduced their and encore broadcasts are aired on Monday three children, Paul B. Gilbert, Joanne Arnold, nights at 8 p.m. In addition, interviews with and Susan R. Gilbert, to the Symphony when guest conductors, soloists, and BSO musicians they were young. Paul and his wife, Patricia, are available online at classicalwcrb.org/bso. have maintained their own Symphony Current broadcasts include this Saturday’s subscription for thirty-nine consecutive concert under Andris Nelsons pairing years, and are also longtime supporters of Rachmaninoff’s Piano Concerto No. 3, with the Symphony Annual Fund. Their children soloist Daniil Trifonov, and Shostakovich’s are now a fourth Gilbert generation of BSO Symphony No. 15 (April 27; encore May 6); concertgoers. Additionally, Patricia and and next Saturday’s final program of the Paul have made a generous commitment 2018-19 subscription season, also under to the Symphony Hall Forever Capital Fund. Andris Nelsons, featuring soloist Baiba Patricia was elected to the BSO Board of Skride in the broadcast premiere of Sebastian Overseers (now Board of Advisors) in 2014. Currier’s new, BSO-commissioned Aether for This year, Joy’s daughter and grandson, violin and orchestra, bookended by Strauss’s Joanne and Andy, are delighted to join the Till Eulenspiegel’s Merry Pranks and Stravinsky’s family attending the performance. Petrushka (May 4; encore May 13).

The James and Melinda Rabb Go Behind the Scenes: Concert, Saturday, April 27, 2019 The Irving W. and Charlotte F. Rabb The BSO performance on Saturday evening Symphony Hall Tours is named for BSO Advisor James Rabb The Irving W. and Charlotte F. Rabb Sym- and his wife, Melinda, active supporters phony Hall Tours, named in honor of the and longtime concert subscribers of Rabbs’ devotion to Symphony Hall through the Symphony. Jim and Melinda began a gift from their children James and Melinda attending concerts at Symphony Hall Rabb and Betty (Rabb) and Jack Schafer, together while in college. Music—played, provide a rare opportunity to go behind sung, and danced—has played an important the scenes at Symphony Hall. In these free, role in their lives. Jim has had the privilege guided tours, experienced members of the of being onstage at Symphony Hall and Boston Symphony Association of Volunteers Tanglewood as a member of choruses unfold the history and traditions of the Bos- performing Beethoven’s Ninth, the Mozart ton Symphony Orchestra—its musicians, Requiem, Prokofiev’sAlexander Nevsky, and conductors, and supporters—as well as Strauss’s Die Tageszeiten. offer in-depth information about the Hall

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“MUSIC IS IN OUR SOUL.” Former Personnel Director of the BSO, Bill Moyer, and wife Betsy, a former piano teacher, love their suite at Newbury Court. It means more time with family and friends, and to pursue passions such as evenings out at Symphony Hall. more time for the arts Make time to visit Newbury Court. Call 978.369.5155 to arrange a tour. 100 Newbury Court Concord, MA 01742 facebook.com/newburycourt www.newburycourt.org itself. Tours are offered on select weekdays our on-site video control room and robotic at 4 p.m. and some Saturdays at 3:30 p.m. cameras located throughout Symphony Hall. during the BSO season. Please visit bso.org/ Please be aware that portions of this con- tours for more information and to register. cert may be filmed, and that your presence acknowledges your consent to such photography, filming, and recording for possible use Planned Gifts for the BSO: in any and all media. Thank you, and enjoy Orchestrate Your Legacy the concert. There are many creative ways that you can support the BSO over the long term. Planned Those Electronic Devices… gifts such as bequest intentions (through your will, personal trust, IRA, or insurance As the presence of smartphones, tablets, and policy), charitable trusts, and gift annuities other electronic devices used for commu- can generate significant benefits for you nication, note-taking, and photography has now while enabling you to make a larger gift increased, there have also been continuing to the BSO than you may have otherwise expressions of concern from concertgoers thought possible. In many cases, you could and musicians who find themselves dis- realize significant tax savings and secure an tracted not only by the illuminated screens attractive income stream for yourself and/ on these devices, but also by the physical or a loved one, all while providing valuable movements that accompany their use. For future support for the performances and this reason, and as a courtesy both to those programs you care about. When you estab- on stage and those around you, we respect- lish and notify us of your planned gift for fully request that all such electronic devices the Boston Symphony Orchestra, you will be completely turned off and kept from view become a member of the Walter Piston while BSO performances are in progress. Society, joining a group of the BSO’s most In addition, please also keep in mind that loyal supporters who are helping to ensure taking pictures of the orchestra—whether the future of the BSO’s extraordinary perfor- photographs or videos—is prohibited during mances. Members of the Piston Society— concerts. Thank you very much for your named for Pulitzer Prize-winning composer cooperation. and noted musician Walter Piston, who endowed the BSO’s principal flute chair with Comings and Goings... a bequest—are recognized in several of our publications and offered a variety of exclu- Please note that latecomers will be seated sive benefits, including invitations to various by the patron service staff during the first events in Boston and at Tanglewood. If you convenient pause in the program. In addition, would like more information about planned please also note that patrons who leave the gift options and how to join the Walter Pis- auditorium during the performance will not ton Society, please contact Jill Ng, Director be allowed to reenter until the next convenient of Planned Giving and Senior Major Gifts pause in the program, so as not to disturb the Officer, at (617) 638-9274 or [email protected]. performers or other audience members while We would be delighted to help you orches- the music is in progress. We thank you for trate your legacy with the BSO. your cooperation in this matter.

On Camera With the BSO The Boston Symphony Orchestra frequently records concerts or portions of concerts for archival and promotional purposes via

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BostonSymphony May '19 Weinberg ND2017.indd 1 3/26/19 12:13 PM on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 24 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11, The Year 1905, as part of a complete, live Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 6 and 7, Leningrad. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 24 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 24 boston symphony orchestra 19 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Redefining Retirement

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H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . Casts of Character: The Symphony Statues by Caroline Taylor

This essay is taken from “Symphony Hall: The First 100 Years,” a large-format book including photographs, commentary, and essays tracing the more than hundred-year history of Symphony Hall. Published by the Boston Symphony Orchestra, “Symphony Hall: The First 100 Years” is available in the Symphony Shop.

Stare out into the vastness of an empty Symphony Hall. Who stares back? A satyr—a dancing one—as well as Sophocles, Euripides, Demosthenes, and Apollo.

These “casts of character” are among the sixteen mythological deities and legendary figures of antiquity who continually survey Symphony Hall. Striking elegantly languid poses from their second-balcony niches, they surely have the best “seats” in the house. These statues—all plaster casts of Old World originals—have been ensconced in their niches since the early 1900s, when a generous group of Symphony Friends selected and donated them to the hall.

The idea for the statues originated with the hall’s architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solu- tion to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjustments could be made. If the hall’s acoustics needed to be altered, fabric or felt could be placed behind the statues without disturbing the decor. As it turned out, Symphony Hall was so masterfully designed that it was never necessary to change the acoustics in a significant way.

Florence Wolsky, a former member of the Museum of Fine Arts Ancient Arts Department and one of the original Symphony Hall tour guides, has thoroughly researched the statues and their history. After more than thirty years of familiarity, her passion and affection for them remain undimmed.

Apollo Belvedere (Vatican City)

week 24 casts of character 23

left, Apollo Citharoedus (Vatican City) right, Diana of Versailles (Paris)

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nine- teenth century. At the Paris Exposition of 1867, a resolution was passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: “There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson’s impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy.

“Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous cop- ies, in marble, of Greek statues, which have survived.”

Roman marbles, like their Greek predecessors, were rarely available for purchase. As a result, American specialists like Pietro Caproni and his brother—whose studios were at the corner of Washington and Newcomb streets in Roxbury—traveled to Europe, copy- ing the originals with precision, grace, and plaster.

According to Mrs. Wolsky, the actual selection of the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hundred Friends of Symphony. The group pored over the Caproni brothers’ catalogues, eventually choosing the sixteen statues now in the hall.

These statues were an appropriate addition to the neoclassical design of Symphony Hall, since the ancient Romans often decorated their odeons or theaters with such objects of art. The Caproni casts were not in place for the hall’s opening concert, but were added one at a time as they emerged from the Caproni studios.

week 24 casts of character 25 Connecting to What Matters That’s the Benchmark Difference.

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Independent Living | Assisted Living | Mind & Memory Approach *Opening summer 2019. Pending EOEA licensure. These statues, in Mrs. Wolsky’s opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, literature, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured on page 25). Copied from the Roman original in the Vatican Museums, it shows Apollo in the long robes of a musician. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 23), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museums, is thought to be a Roman copy of a 4th- century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, sym- bolizing Apollo’s role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 25), currently in the Louvre and also a copy of a 4th-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests—is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns—mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first satyr—first to the right, as you face the stage—has the infant Bacchus, or Dionysus, riding on his shoulders, grasping a bunch of grapes. The satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Dionysus, as well as Pan-pipes, grapes, and vine leaves.

The second satyr—fourth on the right, facing the stage—is known as The Dancing Faun. The original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while dancing, as he would in a procession honoring Dionysus. Another panther skin is draped on the stump behind him, his body twisted in the vigor- ous “contrapposto” typical of late Hellenistic art.

The third satyr—first on the left, as you face the stage—originated with Praxiteles, one of the three greatest sculptors of the fourth century B.C. As Mrs. Wolsky points out, Praxiteles was a virtuoso in stone sculpture and gave marble a translucent, soft surface that conveys the impression of human skin. A marvelous example of the characteristic grace of a Praxitelean statue, this one shows a languid, dreamy satyr leaning against a tree stump. It is often called The Marble Faun, from the book by Nathaniel Hawthorne it reportedly inspired.

week 24 casts of character 27 Also represented in Symphony Hall are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the “Seated Anacreon”—shown opposite); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

One statue that has an indirect connection to the arts, at best, is that of the Amazon (second from the left), thought to be a copy of a work by Polycleitus from the fifth century B.C. The Amazon was probably chosen since it is one of the most famous statues of antiquity. Amazons were followers of the musician Diana. Mrs. Wolsky suspects that there may have been a desire to represent another woman in the statuary, in addition to Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Mount Vesuvius in 79 A.D. and listed in an old Caproni catalogue as Mnemosyne, Mother of the Muses.

As beautiful as they are, the statues of Symphony Hall have not always been hailed as noble additions to the architecture. Since their installation, letters and comments have been registered from concertgoers concerned with the statues’ state of dishabille. As late as 1947, one gentleman wrote to the former Board president Henry B. Cabot: I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates.... Symphony Hall is one of the remaining symbols of Boston culture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of scarf about the shoulders, might it not be brought down lower?

Responded Mr. Cabot: I am afraid that were we to take your advice, somebody might quote to us a stanza from the old rhyme by Anthony Comstock which, as I remember, is: So keep your temper, Anthony. Don’t mind the people’s roars. We’ll drape the tables’ dainty legs In cotton flannel drawers. We’ll cover all those nudities That your pure nature fret, And put a bustle on the nag To hide her red rosette.

caroline taylor was on the staff of the Boston Symphony Orchestra for more than twenty-five years and is currently a BSO Trustee.

28 Seated Anacreon (Copenhagen)

list of casts in symphony hall

As you face the stage, the casts on the right, beginning with the one nearest the stage, are: Faun with Infant Bacchus (Naples) Apollo Citharoedus (Vatican City) Girl of Herculaneum (Dresden) Dancing Faun (Rome) Demosthenes (Vatican City) Seated Anacreon (Copenhagen) Euripedes (Vatican City) Diana of Versailles (Paris)

The casts on the left, beginning from nearest the stage, are: Resting Satyr of Praxiteles (Rome) Amazon (Berlin) Hermes Logios (Paris) Lemnian Athena (Dresden; head in Bologna) Sophocles (Rome) Standing Anacreon (Copenhagen) Aeschines (Naples) Apollo Belvedere (Vatican City)

week 24 casts of character 29

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, April 25, 8pm | the stephen and dorothy weber concert Friday, April 26, 1:30pm | the gilbert family concert Saturday, April 27, 8pm | the james and melinda rabb concert Tuesday, April 30, 8pm | sponsored by hemenway & barnes llp

andris nelsons conducting

rachmaninoff piano concerto no. 3 in d minor, opus 30 Allegro ma non tanto Intermezzo: Adagio Alla breve daniil trifonov

thursday evening’s appearance by daniil trifonov is supported by a gift from catherine and paul buttenwieser. tuesday evening’s appearance by daniil trifonov is supported by the roberta m. strang memorial fund.

{intermission} Marco Borggreve

32 shostakovich symphony no. 15, opus 141 Allegretto Adagio Allegretto Adagio—Allegretto

Please note that these performances of Shostakovich’s Symphony No. 15 are being recorded for future release as part of Andris Nelsons and the BSO’s complete Shostakovich symphony cycle on Deutsche Grammophon. Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated.

thursday evening’s performance of rachmaninoff’s piano concerto no. 3 is supported by a gift in memory of emily howe marks. friday afternoon’s performance of rachmaninoff’s piano concerto no. 3 is supported by a gift from benjamin schore and katherine duff rines. tuesday evening’s performance of rachmaninoff’s piano concerto no. 3 is supported by a gift from tom kuo and alexandra delaite. thursday evening’s performance of shostakovich’s symphony no. 15 is supported by a gift from dr. and mrs. irving h. plotkin. saturday evening’s performance of shostakovich’s symphony no. 15 is supported by a gift from lloyd axelrod, m.d. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10 and the afternoon concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 24 program 33 The Program in Brief...

The exciting Russian pianist Daniil Trifonov returns to Symphony Hall this week as soloist in Sergei Rachmaninoff’s virtuosic but soulful Piano Concerto No. 3, written in 1909 on the eve of the composer-pianist’s first tour of the United States. A few years earlier, Rachmaninoff had enjoyed tremendous success with his Piano Concerto No. 2, still one of the most popular works in the repertoire; but No. 3, upon its premiere in New York in November 1909 with the composer as soloist, was met only with reserved respect. Although technically formidable and often thrilling, its virtuosity and pianistic fireworks take second place to the overtly Russian, almost atmospheric quality established at the start of the piece. Over time, the work’s evident musical substance led to its joining its immediate predecessor as one of today’s most beloved concertos. There’s also little doubt that Rachmaninoff’s pulling out all the stops for the last few minutes of the finale in both the solo and orchestral parts helped leave a lasting impression that led to the work’s rise to the top of the piano concerto repertoire.

Considered the greatest proponent of the genre since Sibelius and Mahler, Dmitri Shostakovich wrote fifteen symphonies, completing the last of them in summer 1971, a few months before his sixty-fifth birthday. His own health was failing, and he had lived through the turmoil of the fall of imperial Russia; the Bolshevik Revolution; the optimistic growing pains and devastating pogroms of the Soviet state; life-threatening political attacks aimed squarely at him and his work; the death of Stalin, and the first decades of the Cold War. The Symphony No. 15 seems to acknowledge all of this, and to resonate with yet further reaches of history. This large, four-movement work is pure Shostakovich in its sound—long, Russian melodies, wild contrast between ironic bom- bast and mourning—but also refers, mysteriously but distinctly, to music of the past: Rossini’s familiar William Tell Overture in the first movement, almost absurd in the context; the “fate” motif as well as “Siegfried’s Funeral March” from Wagner’s Ring cycle, and the opening idea from Wagner’s Tristan und Isolde. The symphony—as was the composer’s practice—may also contain veiled references to his own earlier work.

Robert Kirzinger

34 Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Opus 30

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, district of Starorusky, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Piano Concerto No.3 at Ivanovka, Russia, in the summer of 1909 and completed it on September 23, 1909. Rachmaninoff himself was soloist for the premiere on November 28, 1909, with the New York Symphony Orchestra conducted by Walter Damrosch, during the composer’s first American tour.

IN ADDITION TO THE SOLO PIANO, the score of Rachmaninoff’s Piano Concerto No. 3 calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, side drum, bass drum, cymbals, and strings.

For pianists, Rachmaninoff’s Third Piano Concerto stands as the ultimate challenge—the Mt. Everest of the concerto repertoire. Its herculean technical demands, titanic scale (the soloist plays almost non-stop for the entire forty-five minutes), and emotional richness scared off such seasoned virtuosi as Joseph Lhévinne, Arthur Rubinstein, and Sviatoslav Richter. Even the pianist to whom it was dedicated, the composer’s friend Josef Hofmann, declined to play it, dismissing it as “more a fantaisie than a concerto.” More likely, Hofmann realized his small hands would struggle to negotiate the widely spread, elaborate figurations Rachmaninoff wrote with his own famously strong hands and long fingers in mind (see photo on page 39).

The concerto’s complexity at first confused and intimidated audiences and critics, too. In 1912, several years after its premiere, the usually well-informed Sergei Prokofiev, then a twenty-one-year-old budding composer-pianist, wrote to a friend that he preferred Rachmaninoff’s “charming” Second Piano Concerto to the Third, which he found “dry, difficult, and unappealing. In musical circles it finds little affection, and besides the composer no one is performing it so far.” Only when another Russian pianist, Vladimir Horowitz, began to tour extensively did it start to win fans. Hearing him play the solo part for the first time, Rachmaninoff declared admiringly that Horowitz had “swallowed

week 24 program notes 35 Program page for the first Boston Symphony Orchestra performances of Rachmaninoff’s Piano Concerto No. 3 on October 31 and November 1, 1919, with the composer as soloist under the direction of Pierre Monteux (BSO Archives)

36 the concerto whole!” For Horowitz the “Rach 3” (or “Rock 3,” or “Rack 3,” as some have dubbed it) became something of a signature piece. “Without false modesty, I brought this concerto to light,” said Horowitz. “I brought it to life, and everywhere! Rachmaninoff had not won the recognition with the concerto that he thought he deserved.” Horowitz was also the first to record the piece. In the late 1950s, a young and photogenic pianist from Texas—Van Cliburn—further popularized (and recorded) the concerto after his stunning victory at the 1958 Tchaikovsky Piano Competition in Moscow.

More recently, the 1996 high-grossing hit filmShine stimulated a new wave (tsunami, even) of interest. Australian actor Geoffrey Rush won an Oscar for his scary portrayal of the real-life pianist David Helfgott, who vanquished mental illness by channeling his demons into a prolonged and exhausting wrestling match with Rach 3. In an early scene, Helfgott’s teacher (played by John Gielgud) warns him about taking the challenge too lightly: “People get hurt!” he exclaims.

It’s all the more striking, then, that the Third Concerto emerged from a notably calm and happy period in Rachmaninoff’s life. Eight years had passed since he completed his highly successful Piano Concerto No. 2 in 1901. The preceding year, he had conducted the triumphant premiere of his Second Symphony. He was famous, wealthy, and happy in his family life. For the moment, Russia was at peace. For several years, Rachmaninoff had been spending winters in Dresden and summers at the idyllic estate of Ivanovka deep in the steppes of Tambov province, more than 300 miles southwest of Moscow. In the summer of 1909, he was preparing there for an extensive and lucrative tour to

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week 24 program notes 37 bravo to

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Copyright © 2019 Hemenway & Barnes LLP www.hembar.com A photo of Rachmaninoff’s hands the United States—his first—scheduled for autumn. With the proceeds he was planning to buy a car. For the tour he decided (at first secretly) to write a new concerto that could showcase his own remarkable gifts as a piano virtuoso. Although afflicted in the past by severe bouts of depression that limited his ability to compose, on this occasion Rachmaninoff apparently worked quickly and easily, completing the entire piece in a matter of weeks. He practiced it on a dummy keyboard on the trans-Atlantic crossing, in preparation for the premiere in New York in late November.

Rachmaninoff’s tour began in Northampton, Massachusetts, on November 4 and extended through late January 1910. His impressions of America and Americans were not especially favorable. Later he dismissed the United States as “the dollar princess” and complained to a Moscow newspaper that “the public is amazingly cold and spoilt by touring companies with first-class artists.” (Yet this didn’t prevent him from returning repeatedly to the USA in coming years—and even from settling eventually in Beverly Hills.) The tour’s artistic highlight was the premiere of the new concerto in New York on November 28 and 30, with the New York Symphony Orchestra under Walter Damrosch. On January 16, it was repeated in Carnegie Hall with Gustav Mahler conducting. Mahler’s diligence deeply impressed Rachmaninoff: “According to Mahler, every detail of the score was important—an attitude that is unfortunately rare among conductors.” The reviews were good, although the New York Herald’s critic predicted (correctly) that the concerto’s “great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.”

In the Third Concerto, the piano dominates from start to finish. This distinguishes it from the Second, where the orchestra figures more prominently. The opening measures show the difference. In the Second Concerto, the piano begins with a bell-like tolling that introduces the orchestra and the main theme. In the Third, the orchestra provides a mere two measures of introduction before the soloist launches—commodo—into

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For more information, contact John Morey at 617-292-6799 or [email protected] the supple main theme. True, these first two measures contain a memorable gesture in dotted rhythm—a three-note motif rising from the tonic D to F and down to E, returning to D—that emerges as a swelling motto, used throughout the concerto to considerable dramatic effect. The principal theme of the first movement also begins on D, and then circles around it, unfolding leisurely over the long space of twenty-five bars. Some listeners have heard a folk origin or even a liturgical source in this elegant tune, but Rachmaninoff insistently claimed ownership: “It simply wrote itself! I wanted to ‘sing’ a tune on the piano like a singer does and find an appropriate orchestral accompaniment, that is, one that would not drown this ‘song.’ That’s all! Just the same, I find that, against my will, this theme does take on a songlike or familiar quality.”

The first movement’s main theme reappears in altered form (sometimes barely recognizable) throughout the concerto, in a manner reminiscent of the structure of the Symphony No. 2. The second theme—somewhat military in character—emerges with unusual subtlety out of the first. After an extended development section comes an enormous cadenza—or rather, two cadenzas, occupying five pages in the score. Rachmaninoff provided two alternatives for the soloist in the cadenza’s first part. The longer one (seventy-five measures) was apparently composed first, while the other, somewhat shorter (fifty-nine measures) and less demanding, was added later. (The subsequent twenty-one measures are the same in both versions.) In performance, Rachmaninoff played the easier shorter version. At the Tchaikovsky Competition in 1958, however, Van Cliburn made news by playing the original, longer version, launch- ing a trend subsequently followed by other soloists. But even Horowitz preferred the shorter one, believing that the original was too climactic, like “an ending in itself. It’s not good to end the concerto before it’s over!” The debate over the virtues of each cadenza continues even today.

For the second movement Rachmaninoff created a soulful, bleak, and melancholy main theme played first by the orchestra, a phrase falling gently into what sounds like the

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42 depths of despair. After thirty measures, the piano enters, initiating a series of virtuosic variations. The last is a Tchaikovsky-style waltz in 3/8 meter. The energetic finale follows without pause. Its themes are closely related to those of the first movement, both in rhythm and melodic contour, and give this immense work an unusual sense of formal unity and coherence. After a brief cadenza toward the end, the piano enters (Vivacissimo) with thundering chords triumphantly restating the opening bars of the first movement. The melancholy gloom of the second movement (and of the tonic key of D minor) now conquered, the soloist leads the way to an optimistic, march-like con- clusion in D major.

Because of its length and the extraordinary demands it places upon the soloist, the Third Concerto has often been performed with cuts. Even Rachmaninoff made some cuts for his recording of the piece with the Philadelphia Orchestra and Eugene Ormandy in 1939-40, mostly in the finale. Nowadays the work is typically heard complete, as is the case this week.

Harlow Robinson harlow robinson, is an author, lecturer, and Matthews Distinguished University Professor Emeritus of History at Northeastern University. The author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians,” he is a frequent annotator and lecturer for the Boston Symphony Orchestra, Los Angeles Philharmonic, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival. His new book, “Lewis Milestone: Life and Films,” will be published in the fall of 2019.

THE FIRST AMERICAN PERFORMANCE—WHICH WAS ALSO THE WORK’S FIRST PERFORMANCE—of Rachmaninoff’s Piano Concerto No. 3 took place, as stated above, on November 28, 1909, with the composer as soloist and Walter Damrosch conducting the New York Symphony Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Rachmaninoff’s Piano Concerto No. 3 featured the composer as soloist on October 31 and November 1, 1919, with Pierre Monteux conducting, followed by performances that November and January in Washington, Baltimore, and Providence. Subsequent BSO performances featured Vladimir Horowitz (with Serge Koussevitzky conducting); Rachmaninoff again and, later Witold Malcuzynski (also with Koussevitzky); Monique de la Bruchollerie (Ernest Ansermet), Byron Janis and Van Cliburn (Charles Munch), Idil Biret and Cliburn (Erich Leinsdorf), Gina Bachauer (Charles Wilson), Alexis Weissenberg (Seiji Ozawa), Horacio Gutiérrez (Max Rudolf, André Previn, and Yuri Temirkanov), Evgeny Kissin (Ozawa), Yefim Bronfman (Charles Dutoit and Michael Tilson Thomas), Garrick Ohlsson (Robert Spano), and Nikolai Lugansky (Charles Dutoit). The BSO’s most recent Tanglewood performance was Bronfman’s with Tilson Thomas, on August 14, 2009. The most recent subscription performances were Lugansky’s with Dutoit in October 2012, those two having also performed the work more recently with the Tanglewood Music Center Orchestra on August 17, 2014, as part of that summer’s Leonard Bernstein Memorial Concert.

week 24 program notes 43 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston Dmitri Shostakovich Symphony No. 15, Opus 141

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. He began the Symphony No. 15 in Kurgan on April 2, 1971, completing it in Repino, outside Leningrad, on July 29, 1971. The premiere took place on January 8, 1972; the composer’s son, Maxim Dmitrievich Shostakovich, conducted the Bolshoi Symphony Orchestra of the All-Union Radio in the Bolshoi Hall of the Moscow Conservatory.

THE SYMPHONY IS SCORED for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, castanets, soprano tom-tom, snare drum, wood block, slapstick, cymbals, bass drum, tam-tam, xylophone, glockenspiel, vibraphone, celesta, and strings. The composer specifies a minimum of sixteen first and fourteen second violins, twelve violas, twelve cellos, and ten double basses.

The ghosts of music past haunt Shostakovich’s fifteenth—and final—symphony. The famous galloping theme from the overture to Gioachino Rossini’s opera William Tell (later appropriated for the theme music of the Lone Ranger television series) appears in the first movement. (Here played by brass rather than strings.) The opening bars of the last movement quote the portentous “fate” motif from Richard Wagner’s Ring cycle. Reminis cences of Shostakovich’s own compositions also pop up here and there. The repeated bass line passacaglia in the finale, for example, echoes the insistent march from his Leningrad Symphony (No. 7). Confused and encouraged by Shostakovich’s own contradictory statements about the Fifteenth, sleuthing commentators and musicologists have also uncovered possible references to music of Tchaikovsky, Beethoven, Mahler, and Glinka. It has furthermore been suggested that the entire symphony is a response to a story (The Black Monk) by one of the composer’s favorite writers, Anton Chekhov.

Shostakovich’s obviously retrospective mood at the time he was composing the Fifteenth Symphony (approaching his sixty-fifth birthday) was surely due in part to his failing health and increasing awareness of his own mortality. He had been suffering from

week 24 program notes 45 Program page for the first Boston Symphony Orchestra performances of Shostakovich’s Symphony No. 15 on December 3, 4, and 5, 1981, with the composer’s son Maxim Shostakovich conducting (BSO Archives)

46 various serious ailments for years. The most debilitating was a form of poliomyelitis that restricted the movement of his legs, arms, and fingers, making it almost impossible for him to play the piano. In 1970 and early 1971 he traveled several times to the Siberian city of Kurgan to receive treatment from the highly regarded orthopedic surgeon Gavriil Ilizarov. In Kurgan Shostakovich began writing the Fifteenth Symphony, as well as another work treating the theme of mortality: the music for Grigori Kozintsev’s brilliant film version of Shakespeare’s King Lear. In an interview with Royal Brown in New York in 1973, he said of the symphony, I was working very hard on it, and even though it may sound strange, I was composing in the hospital, then I left the hospital and continued writing at my summer house— I just could not tear myself away from it. It’s one of those works that just completely carried me away, and maybe even one of my few compositions that seemed completely clear to me from the first note to the last. All that I needed was the time to write it down.

While completing the symphony at the Composers Union Retreat in Repino, a picturesque resort town near the Finnish Gulf, Shostakovich devoted each morning to composing. At one o’clock in the afternoon, as recorded in Elizabeth Wilson’s Shostakovich: A Life Remembered, he would meet his neighbor Venyamin Basner for a short walk followed by lunch (accompanied by a “measure of vodka”) and then spend some time listening to the BBC Russian Service on the radio. Since this was technically a banned Western broadcast, Shostakovich was careful “to tune the radio back to the bandwave of Radio Moscow—just in case anybody bothered to check!” Some days, however, he would forego the lunches and lock himself in his cottage to work without distraction, “writing day and night.”

The effort took nearly all of Shostakovich’s declining strength, as he wrote to his friend, the writer Marietta Shaginyan, shortly after the first audition of the work in a four-hand piano version at the Composers Union in Moscow in early August. “I worked on this symphony to the point of tears. The tears were flowing not because the symphony is sad, but because my eyes were so tired. I even visited the optometrist, who advised me to take a short break from the work.”

The Fifteenth is unusual for Shostakovich’s work as a symphonist in several ways. First, as noted, it features quotations from other composers, in a kind of collage technique that he had not previously employed. (Such eclecticism was very popular with the next generation of Soviet composers, especially Alfred Schnittke.) Second, it has no descrip- tive title, unlike his symphonies 2 (To October), 3 (The First of May), 7 (Leningrad), and three of the four written just before it: the Eleventh (The Year 1905), Twelfth (The Year 1917), and Thirteenth (Babi Yar). Third, it is scored for orchestra alone, without voices or texts of any kind; his preceding two symphonies were settings of poems by Yevgeny Yevtushenko for bass soloist, chorus, and orchestra (Babi Yar) and by Lorca, Apollinaire, Kuchelbecker, and Rilke, for soprano, bass, and chamber orchestra (No. 14).

So the Fifteenth is more purely “abstract” and enigmatic music than Shostakovich had previously written in the symphonic form, and more rhapsodic in structure than the

week 24 program notes 47

Shostakovich in 1963, on holiday near Leningrad

classically structured Fifth Symphony, the best-known of his fifteen. To his close friend Isaac Glikman, the composer joked ironically that the symphony was “turning out to be lacking in ideals” (“bezideinaya”), a label often applied by Communist Party officials to compositions they found politically deficient. Moreover, the Fifteenth includes (in the second and third movements) several themes organized according to the dodecaphonic (twelve-tone) method, which Shostakovich used sparingly in some of his late works. Dodecaphony, a form of serialist composition in which a series of pitches becomes the basis of the melodic and harmonic structure, was closely associated with the music of Arnold Schoenberg and the New Viennese School. For many years it had been virtually banned from Soviet music as a decadent, formalist, and inaccessible Western import.

The largest of the Fifteenth’s four movements, each about fifteen minutes in length, are the slow ones, the second and fourth, both marked Adagio. By contrast, the third movement Allegretto is the shortest of all of Shostakovich’s scherzo movements. The first movement, Allegretto, recalls the humorous, sarcastic character of some of the composer’s early works, such as the First Piano Concerto, the ballets The Golden Age and Bolt, and the orchestral interludes from his scandalous opera Lady Macbeth of the Mtsensk District, all combined with the manic energy of the William Tell motif. In an interview around the time of the premiere, Shostakovich reportedly told a journalist that “The first movement describes childhood—just a toy shop, with a cloudless sky above.” This statement has fueled considerable speculation as to the composer’s meaning: was he being serious, or wickedly ironic in view of his frequently tortured life at the mercy of Communist officials?

In the somber, mournful, even liturgical second movement, the orchestral forces are often reduced to chamber size and to solo voices (especially the cello), until the Largo section at rehearsal number 64. From there a funeral march builds to a massive climax with large percussion forces, including whip, xylophone, wood block, and drums, before

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50 receding into a heavenly calm created by strings with vibraphone and celesta. Squealing and laughing woodwinds dominate the grotesque, darkly humorous scherzo, creating the same sort of frantic dance atmosphere found in several of Shostakovich’s string quartets, which occupied much of his creative energy in his last years.

The fourth movement opens with three obvious references to Richard Wagner. First comes, as already noted, the “fate” motif from the Ring cycle. The solo timpani line that follows suggests the rhythm of “Siegfried’s Funeral March” from the last Ring opera, Götterdämmerung . And the three notes (A-F-E) played by the first violins at the end of the introductory Adagio section (as a bridge to the Allegretto) echo the opening notes of the Prelude to Tristan und Isolde. In the Allegretto, a pleasantly lyrical theme meanders through thinly scored string, woodwind, and brass passages. Then the mood darkens with the entry of the sinister marching passacaglia in the low strings at rehearsal number 125. Eventually the lyrical theme joins in, and then again the Wagnerian motif. The relent- less passacaglia theme builds to what Krzystof Meyer has described as a “soul-searing climax,” and then the music begins to fade and fragment into a weirdly ethereal coda, taken over by knocking instruments (timpani, triangle, castanets, wood block, drum, xylophone, celesta) tapping out what sounds like the ticking of a clock pronouncing the end of time, or asking a question. These final measures seem to recall the similar ending of the second movement of the Fourth Symphony, banned in 1936 for twenty-five years following Stalin’s denunciation of Shostakovich’s opera Lady Macbeth of Mtsensk.

While it may not possess the structural integrity of the Fifth Symphony, or the sheer force of the Seventh, Symphony No. 15 stands as an encyclopedia of Shostakovich’s masterful manipulation of the orchestra as an endless source of drama, shifting moods, vivid contrasts, philosophical depth, and emotional expression. The premiere was a triumphant occasion, even though Kiril Kondrashin was too ill to conduct as scheduled and was replaced by Shostakovich’s son Maxim. Many of the stars of the Soviet musical firmament attended. By this time Shostakovich’s health had worsened; he had suffered a second heart attack in September, near the date of his sixty-fifth birthday, and came out on stage only with difficulty to acknowledge the long ovation at the premiere. Less than four years later he would be gone.

Harlow Robinson

THE FIRST AMERICAN PERFORMANCE of Shostakovich’s Symphony No. 15 was given by the Philadelphia Orchestra with Eugene Ormandy conducting on September 28, 1972.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Shostakovich’s Symphony No. 15 were led by Maxim Shostakovich, the composer’s son, in December 1981, the only subsequent BSO performances being given by Kurt Sanderling in January 1988, then BSO assistant conductor Richard Westerfield in January 1997, and then BSO assistant conductor Andris Poga in January 2014.

week 24 program notes 51 Musicto your ears

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Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the “Master Musicians” series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott, which includes discussion of the composer’s concertos and Rhapsody on a Theme of Paganini, in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer,

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week 24 read and hear more 53 Pianist, Conductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rachmaninoff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press). Michael Steinberg’s notes on the Third and Fourth piano concertos and Paganini Rhapsody are in his compilation volume The Concerto–A Listener’s Guide (Oxford University paperback). David Brown discusses Rachmaninoff’s concertos in his chapter “The Concerto in Pre-Revolutionary Russia” in A Guide to the Concerto, edited by Robert Layton (also Oxford paperback).

The Boston Symphony Orchestra has recorded Rachmaninoff’s Third Piano Concerto twice: in 1957 with Byron Janis under the direction of Charles Munch (RCA), and in live performance in 1992 with Evgeny Kissin under the direction of Seiji Ozawa (also RCA). Rachmaninoff himself recorded it in 1939/40 with Eugene Ormandy and the Philadelphia Orchestra (originally RCA; various reissues). Other recordings—among a great many others—feature (listed alphabetically) Leif Ove Andsnes (EMI), Vladimir Ashkenazy (Decca), Yefim Bronfman (Sony), Van Cliburn (whose prizewinning 1958 Tchaikovsky Competition concert performance was issued in 2009 on Testament), Vladimir Horowitz (RCA), Nikolai Lugansky (Warner Classics), Garrick Ohlsson (ASO Media, the label of the Atlanta Symphony Orchestra), and Simon Trpˇc eski (Avie).

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54 Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kingsley as Shostakovich. English writer Julian Barnes’s recent novel, The Noise of Time, uses three crucial moments in Shostakovich’s life to address matters of life, art, society, and political oppression (Knopf). An older but still important biography of the composer, written during his lifetime, is Dmitri Rabinovich’s Dmitri Shostakovich, published in a 1959 English translation by George Hanna (Foreign Languages Publishing House). Also still useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press). David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (University of Washington paperback). Michael Steinberg’s program note on Shostakovich’s Symphony No. 15 is in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

Shostakovich’s Symphony No. 15 is being recorded live during these concerts for future release on Deutsche Grammophon as part of the ongoing Andris Nelsons/BSO Shosta- kovich symphony cycle on that label. The composer’s son, Maxim Shostakovich, recorded the Symphony No. 15 with the Prague Symphony Orchestra (Supraphon). The recording by Eugene Ormandy and the Philadelphia Orchestra, who gave the American premiere, remains available (RCA). Other recordings, listed alphabetically by conductor, include Bernard Haitink’s with both the London Philharmonic (Decca) and the Royal Concertgebouw Orchestra of Amsterdam (RCO Live), Mariss Jansons’s with the London Philharmonic (EMI), Kiril Kondrashin’s with the Dresden Staatskapelle (Profil) and Moscow Philharmonic (Musical Concepts), Vasily Petrenko’s with the Royal Liverpool Philharmonic (budget-priced Naxos), and Kurt Sanderling’s with both the Berlin Symphony Orchestra (Berlin Classics) and the Cleveland Orchestra (Erato).

Marc Mandel

week 24 read and hear more 55

Guest Artist

Daniil Trifonov

Combining consummate technique with rare sensitivity and depth, the Russian pianist Daniil Trifonov has won critical and public acclaim as a solo artist, a champion of concerto repertoire, a collaborator in chamber and vocal music, and a composer. To his many honors, Mr. Trifonov recently added a first Grammy Award, winning Best Instrumental Solo Album of 2018 for “Transcendental,” a double album of Liszt’s works marking the pianist’s third title as an exclusive Deutsche Grammophon artist, and in 2016 he won Gramophone’s Artist of the Year award. Mr. Trifonov launched the New York Philharmonic’s 2018-19 season, playing Ravel’s Concerto in G in their Opening Night gala under incoming music director Jaap van Zweden before rejoining the orchestra the following night for Beethoven’s Emperor Concerto. He revisited the Ravel both on tour with the London Sym- phony and Sir Simon Rattle and during a residency at Vienna’s Musikverein, which also saw him give the Austrian premiere of his own Piano Concerto. Beethoven’s Emperor was also the vehicle for collaborations with the London Symphony and Michael Tilson Thomas, the National Symphony and Gianandrea Noseda, the Cincinnati Symphony and Louis Langrée, and the Cleveland Orchestra and Franz Welser-Möst, with whom the pianist embarked on a tour of Asia. During a multi-faceted, season-long residency with the Berlin Philharmonic, Mr. Trifonov played Scriabin’s concerto under Andris Nelsons’s leadership. Other orchestral highlights include a return to Carnegie Hall for the Schumann concerto with longtime collaborator Valery Gergiev leading the MET Orchestra, and performances of Prokofiev’s Third with Marin Alsop and the Chicago Symphony Orchestra. The 2018-19 season also brought a new Deutsche Grammophon release, “Destination Rachmaninov:

week 24 guest artist 57

Departure,” on which the pianist performs the composer’s Second and Fourth piano concertos with the Philadelphia Orchestra and Yannick Nézet-Séguin. In recital this season, Mr. Trifonov plays Beethoven, Schumann, and Prokofiev on Carnegie’s mainstage and in Berlin, where his Berlin Philharmonic residency features multiple solo and chamber performances, including his own Piano Quintet, of which he also gave the Cincinnati premiere with the Ariel Quartet. In Berlin, as well as at New York’s 92nd Street Y, he played duo- recitals with his frequent partner, German baritone Matthias Goerne. Last season, the pianist released “Chopin Evocations,” a Deutsche Grammophon album that pairs works by Chopin with those of the 20th-century composers he influenced. A similar program took Mr. Trifonov to recital engagements throughout the U.S., Europe, and Asia, crowned by a date at Carnegie Hall. He also undertook a solo tour of Asia and European tours in collaboration with Gidon Kremer and Kremerata Baltica, the London Philharmonic, the Royal Concertgebouw Orchestra, and the La Scala Orchestra. Additional orchestral appearances included Strauss’s Burleske with the Spanish National Orchestra and Bavarian Radio Symphony Orchestra; Schumann with Lisbon’s Gulbenkian Orchestra and the Berlin Philharmonic; Prokofiev with the Mariinsky and Cleveland orchestras; Scriabin’s Piano Concerto with the Seattle Symphony and Ludovic Morlot; a performance of his own Piano Concerto with the Detroit Symphony; and Rachmaninoff performances with the Munich Philharmonic, Toronto Symphony, and Philadelphia Orchestra. Born in Nizhny Novgorod in 1991, Daniil Trifonov began his musical training at age five and went on to attend Moscow’s Gnessin School of Music as a student of Tatiana Zelikman before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and he continues to write for piano, chamber ensemble, and orchestra. Daniil Trifonov makes his second BSO subscription series appearances this week, having debuted here in November 2012 playing Tchaikovsky’s Piano Concerto No. 1 with conductor Giancarlo Guerrero. He made his Tanglewood debut in August 2013 with a solo recital of Scriabin, Liszt, and Chopin, and returned there in July 2017 to perform Mozart’s Piano Concerto No. 21 in C, K.467, with the BSO under Andris Nelsons.

week 24 guest artists 59

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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 Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

62 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg ‡ • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • 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 ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11) ‡ Deceased

week 24 the great benefactors 63 Exceptional healthcare is a concerted effort.

Exceptional healthcare begins and ends with an exceptional healthcare team working together to provide each patient with a healthcare experience that exceeds expectations every day.

At Next Step’s 35 afﬁliated skilled nursing facilities and 3 assisted living facilities, we know that patient needs are more complex and diverse than ever before. For this reason, our leadership team assures that every member of our staff – from nurses and assistants to housekeeping and dietary – is focused on delivering compassionate, responsive and personalized quality healthcare. Quality. Compassion. Trust. More than words, our commitment to you. www.NextStepHC.com The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2018-19 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Peter and Anne ‡ Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • National Endowment for the Arts • The Perles Family Foundation • Carol ‡ and Joe Reich • Sue Rothenberg ‡ • Wendy Shattuck and Samuel Plimpton • Maria and Ray Stata • Caroline and James Taylor • Anonymous (2)

The Higginson Society The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by March 19, 2019. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg ‡ • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2) encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Judith and Harry ‡ Barr • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober •

week 24 the maestro circle 65 2019-20 CHAMBER MUSIC SEASON

Save the dates for our 2019-2020 season! SEPT. 20 & 22 The Enlightenment & Beyond MOZART Oboe Quartet in F, K 370 BEETHOVEN D Major String Trio, Opus 9, No. 2 JANÁCˇEK Quartet No. 1, “The Kreutzer Sonata” NOV. 8 & 10 Kaleidoscope Salem BEETHOVEN 7 Magic Flute Variations for cello & piano Friday Evenings MELTZER World Premiere sonata for cello and piano at 8:00 TURINA Trio No. 1 in D, Opus 35 In Historic Hamilton Hall GRANADOS Piano Quintet in G minor, Opus 49 JAN. 3 & 5 Mozart x 2 MOZART String Quintet in G minor, K 516 MOZART String Quintet in E-flat Major, K 614 Brookline Sunday Afternoons MAR. 13 & 15 French Connection at 3:00 SAINT-SAËNS Piano Trio No. 1, Opus 18 In Beautiful St. Paul’s Church RAVEL Piano Trio ??? Our annual Mystery Piece Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. APR. 24 & 26 Director’s Cut MOZART Piano Trio in B-flat, K 502 CHOPIN Sonata for Cello and Piano, Opus 65 BRAHMS You ™ Piano Quartet in G minor, Opus 25 Are Hear BostonArtistsEnsemble.org

66 Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard Smith; John and Amy Smith Berylson; James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Madeline Smith; Ryan Smith; Debra Smith Knez; Jessica Knez; Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Anonymous (4) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson ‡ • Liliana and Hillel Bachrach • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andrée Robert • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Mr. and Mrs. David S. Lee • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Robert ‡ and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Mrs. Gwill E. York and Mr. Paul Maeder • Anonymous (3) sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • Lucille Batal •

week 24 the higginson society 67 10 Miles River Road | 6.25± Acres | Hamilton, MA 10 Miles River Road is a gorgeous, move-in ready gentleman’s horse farm on 6± acres, abutting Myopia Golf Club and the trail system. Approached via an impressive sugar maple lined driveway, this completely renovated country estate has 2 barns with 8 stalls, all with walk-outs and ample grass paddocks, an oversized sand/fiber arena, and easy access to the trail system. • The stunning main residence was originally built c1895 and now features a chef’s kitchen opening to a family room, a custom wine room, updated bathrooms, and original brick and wood floors. • The home spans 4,654sq feet of living area with four bedrooms, and three and one-half baths. • The owner invested in solar panels which produces a surplus of energy. $2,695,000

Lanse L. Robb | 978-590-0056 | [email protected]

Ten Post Office Square, Suite 1125S, Boston, MA 02109 www.lanserobb.com Mr. Edward B. Berk and Ms. Naomi Weinberg • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Joseph Brooks • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • Mr. and Mrs. Miceal Chamberlain, Jr. • Ms. Bihua Chen and Jackson J. Loomis, Ph.D. • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Deborah B. Davis • Mr. and Mrs. Samuel Denbo • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Shirley Fennell • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jim and Becky Garrett • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • David and Harriet Griesinger • Alexander Healy • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Susan Johnston • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller ‡ • Mr. Benjamin H. Lacy • Mr. and Mrs. Henry Lee • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Mr. and Mrs. Jeffrey E. Marshall • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Peter Palandjian and Eliza Dushku-Palandjian/ Intercontinental Real Estate Corporation • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Susan J. Pharr and Robert C. Mitchell • Ann M. Philbin • Andrew and Suzanne Plump • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • John Sherburne Reidy • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Mrs. Marvin G. Schorr • Lynda Anne Schubert • Carol Searle and Andrew Ley • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Sharon and David Steadman • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6) member $4,000 - $5,999 Mrs. Sonia Abrams • Helaine B. Allen • Joel and Lisa Alvord • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. ‡ and Mrs. Laurence Asquith • Mr. Neil Ayer, Jr. • Mardges Bacon and Charles Wood • Fred and Joanne Barber •

week 24 the higginson society 69 SEASON TICKETS TO AN EXCEPTIONAL LIFESTYLE DISCOVER NEW ADVENTURES EVERY DAY AT

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70 Donald P. Barker, M.D. • Ms. Evelyn Barnes and Ms. Mary-Taylor Carter • Chris and Darcey Bartel • Hanna and James Bartlett • John and Molly Beard • Clark and Susana Bernard • Leonard and Jane Bernstein • Mrs. Stanton L. Black • Neil and Margery Blacklow • Partha and Vinita Bose • Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Catherine Brigham • David and Jane Brigham • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Joanne and Timothy Burke • Ms. Ruth A. Butler • The Cavanagh Family • Mrs. Assunta Cha • Drs. Magdalena and Lucian Chirieac • Mr. and Mrs. Dan Ciampa • Dr. Frank Clark and Dr. Lynn Delisi • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Mrs. Albert M. Creighton, Jr. • Robert and Sarah Croce • Prudence and William Crozier • Joanna Inches Cunningham • Mr. Mark H. Dalzell • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Pat and John Deutch • Charles and JoAnne Dickinson • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Joanne and Jerry Dreher • Mr. David L. Driscoll • Eran and Yukiko Egozy • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Martha and Mark Fishman • Mr. Guido Frackers • Velma Frank • Dozier and Sandy Gardner • Diane Gipson • Elizabeth T. and Roberto S. Goizueta • Alfred and Joan Goldberg • Jordan and Sandy Golding • Eric C. Green • Harriet and George Greenfield • Paula S. Greenman • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Robert and Annette Hanson • Janice Harrington and John Matthews • John and Ellen Harris • Daphne and George Hatsopoulos • Deborah Hauser • William Hawes and Mieko Komagata ‡ • Dr. Edward Heller, Jr. and Ms. Uni Joo • Carol and Robert Henderson • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brian Hickox • Joan and Peter Hoffman • Pat and Paul Hogan • Mr. ‡ and Mrs. Roger Hunt • Ms. Mary Norato Indeglia • Norman and Irene Jacobs • In Memory of Blanche and George Jones • Teresa Kaltz • The Karp Family Foundation • Paul L. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Mr. John L. Klinck, Jr. • Susan G. Kohn • Anna and Peter Kolchinsky • Alexander Kossey • Barbara N. Kravitz • Mr. and Ms. Tom Kush • Robert A. and Patricia P. Lawrence • The Leonard Bernstein Office Inc. • Mr. and Mrs. Don LeSieur • Rosemarie and Alexander Levine • Emily Lewis • Mr. and Mrs. Francis V. Lloyd III • Michael and Rosemary McElroy • Mr. and Mrs. George Mellman • Maureen and James Mellowes • Dale and Robert Mnookin • Robert and Jane Morse • Anne J. Neilson • Cornelia G. Nichols • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Jan Nyquist and David Harding • Jennifer and Alex Ogan • Christine Olsen and Robert Small • Martin and Helene Oppenheimer • Annette and Vincent ‡ O’Reilly • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Richard and Stephanie Parker • Joyce and Bruce Pastor • Michael and Frances Payne • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Mr. Edward Pinkus • Mr. Steven Pittman • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Ms. Dorothy Puhy • Michael C.J. Putnam and Kenneth Gaulin • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • Peggy Reiser and Charles Cooney • Mr. and Mrs. Richard H. Rhoads • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel •

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week 24 the higginson society 73 ONE DAY UNIVERSITY® at Tanglewood Sunday, June 23, 9:30am – 1:15pm Ozawa Hall at General Registration: $159 Impactful Immigration, register today! Life Changing Books event schedule & Musical Masterpieces

for One Day University, the acclaimed lifelong learning series, returns to june 23, 2019 Tanglewood for the ninth year! Join these award-winning professors from • lectures take place three renowned schools, each presenting their best lecture in Ozawa Hall. in ozawa hall • American Immigration: What’s Fact and What’s Fiction? 9:30–9:40am Introduction Jeffrey Engel, Founding Director of the Center for Presidential History at Southern Methodist University. 9:40–10:45am Jeffrey Engel, The United States is a nation of immigrants, a beacon of hope and liberty Southern Methodist peoples around the world have struggled to reach. Yet Americans have not University always welcomed new arrivals with open arms. From colonial days to the present, debates over immigration help define whom Americans are, what 10:45–10:55am Break they believe their country has and should be, and reveal most of all each 10:55am–12pm JOSEPH LUZZI, generation’s politics and priorities. Professor Engel will explore current Bard College debates over immigration reform and what does it actually mean to hold out a beacon to the world’s “tired, poor, huddled masses”? 12–12:10pm Break Three Remarkable Books That Changed America 12:10–1:15pm ANNA CELENZA, Joseph Luzzi, Professor of Literature at Bard College Georgetown What three books are a must for every lover of literature? And how did University each of these groundbreaking works, in its unique way, “change America”? Registration includes: Award-winning scholar and teacher Professor Joseph Luzzi will explore this question with participants in a presentation devoted to exploring the riches • All three professor presentations of literary expression. We will discuss world-renowned works including • VIP Parking Harper Lee’s To Kill a Mockingbird, Ralph Ellison’s Invisible Man, and • 10% off 6/23 Meals-to-Go Joseph Heller’s Catch 22. Participants will be encouraged to develop their own list of “essential reading,” as Professor Luzzi helps them acquire the skills necessary for enriching their encounters with books of all kinds in our ever-changing society.

Three Musical Masterpieces That Changed America Anna Celenza, Professor of Music at Georgetown University Music permeates our lives. Thanks to technology, it is always with us… via the radio, our smart phones, TV commercials, film music, even the streamed music at our local malls and favorite restaurants. Technology has made it easy for us to put music in the background. The goal of this lecture To register visit is to bring it front and center again. As Professor Celenza will demonstrate, music does not simply reflect culture…it changes it. To demonstrate tanglewood.org/onedayu just how such changes come about, she will highlight Three Musical Masterpieces That Changed America that changed America. These include: or call 888-266-1200 a bawdy 18th-century drinking tune that eventually defined American patriotism, a 1980s pop album that changed American foreign policy, and a hit Broadway musical that redefined the way many of us think about the founding of America and it’s earliest years as an independent country.

ONE DAY UNIVERSITY at Tanglewood • For more information, call Hester Breen at 617-638-9270 Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2017-18 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Bloomberg • Eaton Vance, Thomas E. Faust, Jr. • Fidelity Investments $250,000 - $499,999 Bank of America, Anne M. Finucane, Miceal Chamberlain • Fairmont Copley Plaza, George Terpilowski • Takeda Pharmaceuticals Company Limited, Andrew Plump $100,000 - $249,999 American Airlines, Jim Carter • Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Commonwealth Worldwide Executive Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • League of American Orchestras • David G. Mugar • National Endowment for the Arts $50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Eversource Energy, James J. Judge • Fromm Music Foundation • Goodwin Procter LLP, Regina M. Pisa • The Geoffrey C. Hughes Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Massachusetts Cultural Council • Joseph C. McNay, The New England Foundation • New England Audi Dealers • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Miriam Shaw Fund • Suffolk, John F. Fish $25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Accenture, Richard P. Clark, Christine Disco • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Berkshire Bank • Boston Foundation • Canyon Ranch in Lenox • Connell Limited Partnership, Margot C. Connell, Frank A. Doyle • Encore Boston Harbor, Bob DeSalvio • EY-Parthenon, William F. Achtmeyer • Farley White Interests, John F. Power, Roger W. Altreuter • Elizabeth Taylor Fessenden Foundation • Gerondelis Foundation • The Ann and Gordon Getty Foundation • Goldman Sachs, Matt Gibson •

week 24 corporate, foundation, and government contributors 75 Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Gerald R. Jordan Foundation, Jerry and Darlene Jordan • JPMorgan Chase & Co., Daniel J. Curtin • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • Mastercard • Morgan, Lewis & Bockius LLP, Lisa Barton, Steven C. Browne, Catherine Curtin • Quanta Services, Ben Bosco • SoCo Creamery • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, Part of the M&T Bank Family, Christopher T. Casey • Yawkey Foundation $15,000 - $24,999 Altec • Analog Devices, Inc., Vincent Roche • Arthur J. Hurley Company, Inc., Matthew Hurley • Asplundh/Asplundh Construction/American Electrical Testing • Barclays, John Lange • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Red Sox, Sam Kennedy • Boston Seed Capital, Nicole Maria Stata • Consigli Construction Co., Inc. • Debevoise & Plimpton LLP, Gregory J. Lyons • Mr. and Mrs. James S. DiStasio • E.M. Duggan, Inc., Len Monfredo • Enbridge, Bill Yardley • Feeney Brothers Utility Services, Brendan Feeney, Greg Feeney • Steve and Betty Gannon • The Highland Street Foundation/Stonegate Group LLC • Hill Holliday, Karen Kaplan • Hunton & Williams LLP, Walfrido Martinez • J.P. Marvel Wealth Management, Joseph F. Patton, Jr. • Keegan Werlin LLP, Cheryl Kimball • Roger and Myrna Landay Charitable Foundation • Macy’s • MEDITECH, Howard Messing • Needham Bank, Joseph P. Campanelli • New Balance Foundation, Anne and Jim Davis • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • Ray and Maria Stata • Margery and Lewis Steinberg • Stonehill College, Rev. John Denning, C.S.C. • The Summer Fund • Vertex Pharmaceuticals • Willis Towers Watson, Michael A. McShane • Anonymous $10,000 - $14,999 Abrams Capital, David Abrams • Advent International, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht, Sr. • Berkshire Partners LLC • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Cambridge Trust, Mark Thompson • Charles River Laboratories, Inc., James C. Foster • Eileen and Jack Connors, Jr. • Deutsch Family Wine & Spirits • Elliott Management Corporation, Paul E. Singer • EY, Jane C. Steinmetz • FTI Consulting, Stephen J. Burlone • Gallagher, Patrick Veale • H. Carr & Sons, Inc., James Carr • John Hancock Financial, Marianne Harrison • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Jim and Mary Judge • JWR Advisors, LLC, Jim Rappaport • Kaufman & Company, LLC, Sumner Kaufman • Ted and Debbie Kelly/The Kelly Family Foundation • The Kraft Family/New England Patriots Charitable Foundation • Liberty Mutual Group/Ironshore, Kevin H. Kelley • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Natixis Investment Managers, David Giunta • Navigator Management, Thomas M. O’Neill • New England Development, Stephen R. Karp • Northwood Investors, John Z. Kukral • Lee and Bernadette Olivier • Abraham Perlman Foundation • PwC, John Farina • Qualprint • The Red Lion Inn • Billy Rose Foundation • Silicon Valley Bank, Pamela Aldsworth • The Carl and Ruth Shapiro Family Foundation • Peter and Catherine Smyth • Strategic Benefit Advisors, Mark Abate • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The TJX Companies, Inc., Carol Meyrowitz • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Wheatleigh Hotel & Restaurant

76 $5,000 - $9,999 Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allegrone Companies • The Amphion Foundation, Inc. • Amuleto Mexican Table • Apple Tree Inn • Atlantic Trust Private Wealth Management • Barrington Associates Realty Trust • Berkshire Eagle • Berkshire Life Insurance Company of America, a Guardian Company • Anne Bailey and Roger Berman • The Beveridge Family Foundation, Inc. • BJ’s Wholesale Club • Blake & Blake Genealogists • Boston Area Mercedes-Benz Dealers • The Boston Globe • Boston Private • Burack Investments • The Cambridge Homes • Chadwick Martin Bailey • Choate, Hall & Stewart LLP • Chubb • Clough Capital Partners, LP • Cohen Kinne Valicenti & Cook LLP • Colliers International • RoAnn Costin • Cranwell Resort, Spa & Golf Club • John and Diddy Cullinane • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Demoulas Foundation • Francie and Bob DeSalvio • Dresser-Hull Company • Mr. and Mrs. J. Christopher Eagan • Ergonomic Group, Inc. • The Fuller Foundation • Greater Boston Chamber of Commerce • The Hamilton Company Charitable Foundation • Susan and Raymond Held • The Herb Chambers Companies • High Output, Inc. • History of Toys Gallery • IBM • Jack Madden Ford • Kripalu Center for Yoga & Health • Lee Kennedy Co., Inc. • Leggat McCall Properties • Locke Lord LLP • John and Rose Mahoney • Massachusetts High Technology Council, Inc. • Michael Renzi Painting Co. • Lucia B. Morrill Charitable Foundation • Myriad Productions • The E. Nakamichi Foundation • Neighborhood Health Plan • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Port Asylum • Prince Street Capital Management • Riemer & Braunstein LLP • Roffi Salon & Spa • Ropes & Gray LLP • Thomas A. and Georgina T. Russo Family Fund • S&F Concrete Contractors, Inc. • William E. and Bertha E. Schrafft Charitable Trust • Senator Investment Group • Shawmut Design and Construction • Siena Construction • Signature Printing & Consulting, Woburn, MA • Katherine Chapman Stemberg • Abbot and Dorothy H. Stevens Foundation • The Studley Press, Inc. • Edward A. Taft Trust • Transwestern • United Group of Companies • Walsh Brothers • WB Wood • WBUR • Stetson Whitcher Fund • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2) $2,500 - $4,999 Abbott’s Limousine & Livery Service, Inc. • Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Aqueduct Technologies, Inc. • Asia Alternatives • Audible, Inc. • B2C2 • Barrington Brewery and Restaurant • Bell Container Corp. • Biener Audi • Big Y Supermarkets • Blantyre • Blue Spark Capital Advisors • Bond Brothers, Inc. • Brookline Youth Concerts Fund • Carleton-Willard Village • Casablanca • Complete Staffing Solutions, Inc. • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • The Drew Company, Inc. • Edward Acker, Photographer • Elizabeth Grant Trust • F3 Technology Partners, LLC • Fire Equipment, Inc. • Margaret Foley • Fowler Printing & Graphics • Mr. and Mrs. Ronald Frohne • G&C Concrete Construction, Inc. • Garden Gables Inn • Gate City Electric • Gennari Plumbing & Heating, Inc. • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund • Mr. and Mrs. Robert Haber • Iredale Mineral Cosmetics, Ltd. • J.H. Maxymillian, Inc. • JK Glass Co., Inc. • Kemble Inn • Linda Leffert J.D. ret. • Lewis R. Dan, M.D. • MountainOne Financial • Murtha Cullina LLP • Norbella • Oxford Fund, Inc. • Peter D. Whitehead Builder, LLC • Quality Moving & Storage • Republic Services • Rockland Trust • Mr. and Mrs. Stephen Sacks • Sametz Blackstone Associates • Security Self Storage • David J. Tierney, Jr., Inc. • Vedder Price • Verrill Dana • Welch & Forbes, LLC • Frederica M. Williams • Anonymous (2)

week 24 corporate, foundation, and government contributors 77 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has Andrew Plump, brought the hope of Better Health and a Brighter Future to people around the M.D., Ph.D. Chief Medical and world through our empathetic and people-centered approach to science and Scientific Officer medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra in its efforts to bring artistic excellence to the local community and across the globe.

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the first year of our partnership.

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

OFFICIAL HOTEL OF THE BSO Fairmont Copley Plaza has had the honor of being the official hotel of the BSO George Terpilowski for more than 15 years. Located less than a mile from Symphony Hall, we are Regional Vice President, North East U.S. and proud to offer luxury accommodations for the talented artists and conductors General Manager, that captivate Boston audiences. Together our historic institutions are a symbol Fairmont Copley Plaza of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

week 24 bso major corporate sponsors 79 Everything worth thinking about.

wgbhnews.org Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Lisa Bury, Interim Chief Development Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Senior Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Management Office Administrator boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, Boston Pops Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 24 administration 81 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Interim Director of Individual Giving • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Assistant Director of Board Administration • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Tanglewood Grounds Manager • Peter Socha, Tanglewood Facilities Manager • Ross Jolly, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Tanglewood Electrician/ MEP Systems and Projects Coordinator • Bruce Huber, Assistant Carpenter/Roofer • Ronald Paul, Plumber/HVAC Technician

week 24 administration 83 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs and Group Sales • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Eugene Ware, Associate Marketing Manager • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director and Dean of Fellows • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 24 administration 85 A Symphony-Worthy Performance, In The Comfort Of Your Own Home.

Enjoy the power and majesty of a piano performance by one of the world’s leading artists, now available in your living room. That is the promise and impact of Spirio, the world’s first high resolution player piano worthy of the Steinway name. Imagine history’s greatest pianists playing classical masterpieces, cool jazz, or contemporary hits on your piano, in the comfort of your home. Every note, every key strike, every nuance of performances by piano legends is captured by Spirio and experienced again through live playback. See How It Fits Let us bring you a full-size floor template for the Steinway Spirio models. Lay it down in position to see how the world-class Spirio fits your performance space. Call 617-426-1900 or visit msteinert.com/bsotemplate

Explore the wonder of Steinway Spirio, available exclusively at M. Steinert & Sons in Boston and Natick.

www.msteinert.com • (617) 426-1900 • [email protected] Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

Senior Living. Exceptional Assisted Living Steps from Symphony Hall Perfectly Orchestrated.

● Chef-Prepared Meals ● Spacious Modern Apartments ● Medication Monitoring ● Regular Berklee College & NE Conservatory Performances

Call Doug Warren Susan Bailis 617-247-1010 Personalized Assisted Living or stop in for a Private Tour 352 Massachusetts Ave, Boston SusanBailisAL.com

week 24 administration 87 Next Program…

Thursday, May 2, 10:30am (Open Rehearsal; Pre-Rehearsal Talk at 9:30am in Symphony Hall) Thursday, May 2, 8pm Friday, May 3, 1:30pm Saturday, May 4, 8pm

andris nelsons conducting

strauss “till eulenspiegel’s merry pranks,” after the old rogue’s tale, set in rondo form for large orchestra, opus 28

sebastian currier “aether” for violin and orchestra (2018) (world premiere; bso co-commission) ethereal— I. Mysterious— ethereal— II. Lyrical and aggressive— ethereal— III. Sustained and expressive— ethereal— IV. Energetic and intense— ethereal baiba skride

{intermission}

stravinsky “petrushka,” burlesque in four scenes (revised version of 1947) The Shrovetide Fair Petrushka’s Room The Moor’s Room The Shrovetide Fair (toward evening)

The Latvian violinist Baiba Skride joins her compatriot Andris Nelsons and the BSO for the world premiere of Pulitzer Prize-winning composer Sebastian Currier’s Aether for violin and orchestra, a work co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig. Two unpredict- able musical rogues bookend the new work: Till Eulenspiegel, who in Strauss’s tone poem thumbs his nose at the establishment, rides his horse through a market, and comes to no good end; and Stravinsky’s puppet-come-to-life Petrushka, whose attempts to win the admiration of a ballerina come to naught. In his second full ballet score for Sergei Diaghilev’s Ballets Russes, two years before The Rite of Spring, Stravinsky’s astonishing musical depictions of a Russian Shrovetide fair further cemented the reputation of the young composer of The Firebird.

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

Thursday, May 2, 10:30am (Open Rehearsal) Thursday ‘D’ May 2, 8-9:55 Friday ‘B’ May 3, 1:30-3:25 Saturday ‘B’ May 4, 8-9:55 ANDRIS NELSONS, conductor BAIBA SKRIDE, violin STRAUSS Till Eulenspiegel’s Merry Pranks SEBASTIAN Aether, for violin and orchestra CURRIER (world premiere; BSO co-commission) STRAVINSKY Petrushka (1947 version)

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

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

week 24 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 24 symphony hall information 91 Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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