bso andris nelsons music director 2019•20 season
week 6 fauré dieter ammann messiaen debussy
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seiji ozawa music director laureate bernard haitink conductor emeritus thomas adès artistic partner season sponsors Better Health, Brighter Future
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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 6
7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 2 this week’s program
Notes on the Program
24 The Program in Brief… 25 Gabriel Fauré 29 Dieter Ammann 37 Olivier Messiaen 41 Claude Debussy 49 To Read and Hear More…
Guest Artists
55 Susanna Mälkki 57 Andreas Haefliger
62 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information
the friday preview on october 25 is given by bso associate director of program publications robert kirzinger.
program copyright ©2019 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing
BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org “A work of art is the trace of a magnificent struggle.” GRACE HARTIGAN
On view now
Grace Hartigan, Masquerade, 1954. Oil on canvas. Collection of Lizbeth and Sponsored by Generously supported by George Krupp. © Estate of Grace Hartigan. 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 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.
Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer
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week 6 trustees and advisors 3
photos by Robert Torres and Winslow Townson
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Celebrating “Leipzig Week in Boston” October 27-November 2, 2019 The week of October 27-November 2 is the BSO’s third “Leipzig Week in Boston” marking the multi-dimensional alliance between the Boston Symphony Orchestra and the Gewand- haus Orchestra (GHO) of Leipzig, of which BSO Music Director Andris Nelsons became Gewandhauskapellmeister in February 2018. For this season’s “Leipzig Week in Boston,” the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO on October 31, November 1 (this year’s Symphony Gala), and November 2, as well as two concerts of its own on October 27 (presented by the BSO in association with the Celebrity Series of Boston) and October 29, all to be conducted by Andris Nelsons. Among the additional “Leipzig Week” events will be two illustrated performance/discussions, free and open to the public, in Rabb Hall at the Boston Public Library, from 5:30-7 p.m. on Tuesday, October 29, and Wednesday, October 30, both to be led by Christoph Wolff, the Adams University Professor at Harvard University, former director (2001-2013) of the Bach Archive in Leipzig, and artistic advisor to the BSO/GHO Alliance. On Tuesday, October 29, BSO members will perform the first movement of Schubert’s String Quintet in C, D.956, prior to a discussion about the Gewandhaus Orchestra’s rich tradition of bringing canonical works, including landmark works of Schubert and Brahms, into the classical repertoire. On Wednesday, October 30, members of the BSO and GHO will perform Reicha’s Wind Quintet in E-flat, Opus 88, as part of a discussion illustrating the differences between the so-called “German” and “French” wind sounds and a consideration of the different sonic traditions and physical construction of the instruments themselves. For more information, please visit bso.org.
This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated in 2017 by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of the Gewandhausorchester (GHO) Leipzig, musi- cians from each of the two ensembles participate in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2019-20 season, BSO violinist Lisa Ji Eun Kim and flutist Clint Foreman are playing in Leipzig with the Gewandhaus- orchester, and GHO violinist Veronika Starke and GHO flutist Manfred Ludwig are playing at Symphony Hall with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accom- plishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.”
week 6 bso news 7 Celebrating the Great American Soprano Jessye Norman (1945-2019) The Boston Symphony Orchestra notes with sadness the passing of Jessye Norman, who died on September 30. Her performances with the BSO spanned the years 1972 to 2002; she made her
Miro Vintoniv final appearance with the Boston Pops in 2012 at Tanglewood. Ms. Norman’s appearances with orchestra, in recital, and in opera, and her devotion to humanitarian endeavors, made a profound impression on all who encountered her. A BSO Archives display in the Brooke Corridor of Symphony Hall near the Massachusetts Avenue entrance celebrates the great soprano’s decades-long association with the Boston Symphony and Boston Pops. The photo shows Ms. Norman with John Williams, Seiji Ozawa, and Keith Lockhart backstage during the Symphony Hall Centennial Gala on October 14, 2000.
New England Conservatory and BSO Present “What I Hear” on Thursday, November 7, 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 per- formances 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 first of this season’s three “What I Hear” events is on Thursday, November 7, featuring French composer Betsy Jolas, whose BSO-commissioned Letters from Bachville receives its American premiere on that evening’s 8 p.m. BSO concert with Andris Nelsons conducting. Upcoming sessions feature British composer Helen Grime on Thursday, February 7, and Austrian composer HK Gruber on Thursday, April 2. Admission is free. For more information, please visit bso.org.
2O19/2O20 SEASON
Story Telling ANNUAL FAMILY CONCERT SATURDAY
Christopher Rouse The Infernal Machine DECEMBER 7 Benjamin Britten The Young Person’s Guide to the Orchestra 3PM Joyce Kulhawik, narrator Concerto played by the NEP Young Artist’s Competition Winner BOSTON Bernard HofferLittle Red Riding Hood UNIVERSITY Joyce Kulhawik, narrator TSAI PERFORMANCE CENTER Westborough High School Women’s Chorale, TICKETS ON SALE Alyson Greer Espinosa, conductor NEPHILHARMONIC.ORG
8 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 month’s speakers are Robert Kirzinger (October 4 and October 25), Marc Mandel (October 11), and author/composer Jan Swafford (October 18). individual tickets are on sale for all concerts in the bso’s 2019-2020 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.
The Mr. and Mrs. Brent L. Henry and a former member of the National Concert, Thursday, October 24, 2019 Institutes of Health Advisory Board for The performance on Thursday evening is Clinical Research. supported by a generous gift from BSO A pharmacist and attorney, Minnie Trustee Brent L. Henry and his wife, Minnie started her own life sciences consulting Baylor-Henry. The couple began attending practice after retiring as the Worldwide Symphony performances shortly after moving Vice-President for Regulatory Affairs for to Boston in 2002; they have been subscribers Devices at Johnson & Johnson. Minnie and members of the Higginson Society for is also an independent director for three nearly fourteen years. Brent and Minnie publicly traded life sciences companies, also enjoy concerts at Tanglewood, and have scPharmaceuticals, Inc., PolarityTE, Inc., supported Symphony and Tanglewood Galas. and Apyx Medical. In addition, she is a Brent was elected a BSO Overseer in 2006 member of the Board of Trustees at Howard and a Trustee in 2008. He is chair of the University and the Board of Visitors for Audit, Risk, and Compliance Committee, Howard University’s College of Pharmacy. and a member of the Executive Committee. Minnie is a member of the Board of Directors In October 2017, Brent joined Mintz, Levin, for The Partnership, Dress for Success Cohn, Ferris, Glovsky and Popeo, P.C., after Boston, and the American Society of Health- serving as vice-president and general counsel System Pharmacists Foundation. Minnie is a of Partners HealthCare for more than fifteen fellow and past president and board chair of years. He earned his B.A. from the Woodrow the Drug Information Association and past Wilson School of Public and International chair of the Food & Drug Law Institute. She Affairs at Princeton University, his M.A. in earned her B.S. in pharmacy from Howard urban studies from the Yale School of Art University’s College of Pharmacy and her and Architecture, and his J.D. from Yale Law J.D. from Catholic University’s Columbus School. In addition to his involvement at the School of Law. BSO, Brent serves as vice-chair of Princeton’s Board of Trustees, a director of the Fiduciary Trust Company, and a trustee of Martha’s BSO Broadcasts on WCRB Vineyard Hospital. He is also a member BSO concerts are heard on the radio at 99.5 of the advisory board of Equality Asset WCRB. Saturday-night concerts are broadcast Management, a fellow and past president of live at 8 p.m. with host Ron Della Chiesa, the American Health Lawyers Association, and encore broadcasts are aired on Monday
week 6 bso news 9 Proud to support the Boston Symphony Orchestra nights at 8 p.m. In addition, interviews with variety of exclusive benefits, including invita- guest conductors, soloists, and BSO musicians tions to events in Boston and at Tanglewood. are available online at classicalwcrb.org/bso. If you would like more information about Current and upcoming broadcasts include planned gift options and how to join the this week’s program under Susanna Mälkki of Walter Piston Society, please contact Jill Ng, music by Fauré, Messiaen, and Debussy plus Director of Planned Giving and Senior Indi- the American premiere of Dieter Ammann’s vidual Giving Officer, at (617) 638-9274 or The Piano Concerto (“Gran Toccata”) with [email protected]. We would be delighted to help soloist Andreas Haefliger (October 26; you orchestrate your legacy with the BSO. encore November 4); next week’s joint concert with the BSO and Gewandhausorchester Leipzig under Andris Nelsons of music by BSO Members in Concert Strauss, Haydn, Schoenberg, and Scriabin BSO members Sheila Fiekowsky, violin, Daniel (November 2; encore November 11); and Getz, viola, and Richard Ranti, bassoon, the following week’s program with Maestro will join flutist Linda Toote, oboist Andre Nelsons conducting the world premiere of Bonsignore, and clarinetist Catherine Betsy Jolas’s BSO-commissioned Letters Hudgins for music of Ibert, Bozza, Thompson, from Bachville, Ravel’s Piano Concerto in Mozart, and Françaix in a chamber music G with Mitsuko Uchida, and Shostakovich’s concert to benefit the West Stockbridge Symphony No. 12, The Year 1917 (November Historical Society. This performance of the 9; encore November 18). West Stockbridge Chamber Players will be held on Sunday, November 3, at 2 p.m. Planned Gifts for the BSO: at the Old Town Hall, 9 Main Street, West Orchestrate Your Legacy Stockbridge, MA. Tickets are $35 and can be reserved by e-mail (info@weststockbridge- There are many creative ways that you can history.org) or at local West Stockbridge support the BSO over the long-term. Planned merchants (look for the “blue note” in down- gifts such as bequest intentions (through town business windows). your will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities Founded by former BSO cellist Jonathan Miller, can generate significant benefits for you the Boston Artists Ensemble performs its now while enabling you to make a larger gift second program of the season, “Kaleido- to the BSO than you may have otherwise scope,” on Friday, November 8, at 8 p.m. thought possible. In many cases, you could at Hamilton Hall in Salem and on Sunday, realize significant tax savings and secure an November 10, at 3 p.m. at St. Paul’s Episcopal attractive income stream for yourself and/ Church, 14 St. Paul Street, Brookline. The pro- or a loved one, all while providing valuable gram includes the world premiere of a new future support for the performances and work for cello and piano by Harold Meltzer, programs you care about. commissioned by Mr. Miller, plus music of Beethoven, Turina, and Granados. Tickets When you establish and notify us of your are $30 (discounts for seniors and students), planned gift for the Boston Symphony available at the door. For more information, Orchestra, you will become a member of visit bostonartistsensemble.org or call (617) the Walter Piston Society, joining a group 964-6553. of the BSO’s most loyal supporters who are helping to ensure the future of the BSO’s Andris Nelsons and members of the BSO extraordinary performances. Named for perform in the Terezín Music Foundation Pulitzer Prize-winning composer and noted 2019 Gala at Symphony Hall on Monday, musician Walter Piston, who endowed the November 11, at 6 p.m. (preceded by a recep- BSO’s principal flute chair with a bequest, tion at 5). The program includes Hans Krása’s members of the Piston Society are recognized Overture for Small Orchestra and André in several of our publications and offered a Previn’s Quintet for Horn and String Quartet,
week 6 bso news 11 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® selection by Boston magazine.
Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 which was commissioned by the foundation. Those Electronic Devices… Tickets to the gala start at $150 and can be As the presence of smartphones, tablets, and purchased at tmfgala.org/tickets.html or by other electronic devices used for commu- calling (857) 222-8263. nication, note-taking, and photography has Mistral Music, whose membership includes increased, there have also been continuing BSO violinist Julianne Lee and BSO cellist expressions of concern from concertgoers Mickey Katz, performs in a benefit concert, and musicians who find themselves dis- “Hope & Harmony,” on Sunday, November tracted not only by the illuminated screens 17, at 7:30 p.m. at Jordan Hall. Sir Simon on these devices, but also by the physical Rattle conducts a program of Beethoven, movements that accompany their use. For Brahms, and Mozart with an orchestra this reason, and as a courtesy both to those including guests from other prominent on stage and those around you, we respect- ensembles, more than a dozen of them fully request that all such electronic devices from the BSO. The concert will raise funds be completely turned off and kept from view for underserved women with breast cancer. while BSO performances are in progress. Tickets from $50 to $100 are available at In addition, please also keep in mind that Mistral’s website (mistralmusic.org), by taking pictures of the orchestra—whether e-mail ([email protected]), or by photographs or videos—is prohibited during calling (978) 474-6222. concerts. Thank you very much for your cooperation. On Camera With the BSO The Boston Symphony Orchestra frequently Comings and Goings... records concerts or portions of concerts Please note that latecomers will be seated for archival and promotional purposes via by the patron service staff during the first our on-site video control room and robotic convenient pause in the program. In addition, cameras located throughout Symphony Hall. please also note that patrons who leave the Please be aware that portions of this con- auditorium during the performance will not cert may be filmed, and that your presence be allowed to reenter until the next convenient acknowledges your consent to such photog- pause in the program, so as not to disturb the raphy, filming, and recording for possible use performers or other audience members while in any and all media. Thank you, and enjoy the music is in progress. We thank you for the concert. your cooperation in this matter.
week 6 bso news 13 We are honored to support the Boston Symphony Orchestra
as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts
H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . 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 the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of legendary BSO conductor Serge Koussevitzky done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour
TOP OF PAGE, LEFT TO RIGHT: Jesús María Sanromá and Arthur Fiedler, c.1930 (photographer unknown) Season ticket, made of brass, from the BSO’s inaugural subscription season, 1881-82 (Bridget Carr) Seiji Ozawa conducting at Beijing’s Capital Stadium, March 1979 (Story Lichfield)
week 6 on display 15 Marco Borggreve
Andris Nelsons
The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty- six weeks of concerts this season, ranging from repertoire favorites by Beethoven, Dvoˇrák, Gershwin, Grieg, Mozart, Mahler, Rachmaninoff, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, Arturs Maskats, and HK Gruber. The season also brings the continuation of his complete Shosta- kovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists, including a concert performance of Tristan und Isolde, Act III—one of three BSO programs he will also conduct at Carnegie Hall—with Jonas Kaufmann and Emily Magee in the title roles. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai.
In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhaus- orchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance is a focus on complementary program- ming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. For this season’s “Leipzig Week in Boston,” under Maestro Nelsons’ leadership in November, the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO as well as two concerts of its own.
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. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam; in May 2016, a tour that
16 took them to eight cities in Germany, Austria, and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals.
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 Tanglewood 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 on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). This November, a new release on Naxos features Andris Nelsons and the orchestra in the world premieres of BSO-commissioned works by Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis. 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.
During the 2019-20 season, Andris Nelsons continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, 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 6 andris nelsons 17 Boston Symphony Orchestra 2019–2020
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 Si-Jing Huang* violas Mickey Katz* Ronald G. and Ronni J. Casty Stephen and Dorothy Weber (position vacant) chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Wendy Putnam* 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 Xin Ding* Assistant Principal Richard C. and Ellen E. Paine chair, endowed in perpetuity Helen Horner McIntyre chair, Glen Cherry* Anne Stoneman chair, endowed in perpetuity endowed in perpetuity Oliver Aldort* Lisa Ji Eun Kim* u Alexander Velinzon Danny Kim u Associate Concertmaster Veronika Starke Lois and Harlan Anderson chair, basses Robert L. Beal, Enid L., and endowe d in perpetuity Bruce A. Beal chair, endowed Edwin Barker Rebecca Gitter in perpetuity second violins Principal § Harold D. Hodgkinson chair, Elita Kang Haldan Martinson Michael Zaretsky* Principal endowed in perpetuity Assistant Concertmaster Rachel Fagerburg* Edward and Bertha C. Rose chair, Carl Schoenhof Family chair, Lawrence Wolfe endowed in perpetuity endowed in perpetuity Daniel Getz* Assistant Principal Maria Nistazos Stata chair, Yuncong Zhang Julianne Lee Rebekah Edewards* endowed in perpetuity John and Dorothy Wilson chair, Assistant Principal Leah Ferguson*° endowed in perpetuity Charlotte and Irving W. Rabb Benjamin Levy chair, endowed in perpetuity Kathryn Sievers* Leith Family chair, endowed Lucia Lin in perpetuity Dorothy Q. and David B. Arnold, Jr., Sheila Fiekowsky Mary Ferrillo* chair, endowed in perpetuity Shirley and J. Richard Fennell Dennis Roy chair, endowed in perpetuity Steven O. Laraia* Ikuko Mizuno Joseph Hearne Ruth and Carl J. Shapiro chair, Nicole Monahan endowed in perpetuity David H. and Edith C. Howie cellos Todd Seeber* chair, endowed in perpetuity Eleanor L. and Levin H. Campbell Bo Youp Hwang Blaise Déjardin chair, endowed in perpetuity Mary B. Saltonstall chair, Ronan Lefkowitz Principal Philip R. Allen chair, John Stovall* endowed in perpetuity Vyacheslav Uritsky* endowed in perpetuity Thomas Van Dyck* Jennie Shames* Aza Raykhtsaum*§ Sato Knudsen Catherine and Paul Buttenwieser Carl Anderson* chair Bonnie Bewick* Mischa Nieland chair, endowed in perpetuity Valeria Vilker Kuchment* James Cooke* flutes Kristin and Roger Servison chair Mihail Jojatu Victor Romanul* Sandra and David Bakalar chair Elizabeth Rowe Tatiana Dimitriades* Catherine French* Martha Babcock Principal Donald C. and Ruth Brooks Walter Piston chair, endowed Vernon and Marion Alden chair, Heath chair, endowed Jason Horowitz* in perpetuity in perpetuity endowed in perpetuity Ala Jojatu* u Owen Young* Clint Foreman Myra and Robert Kraft chair, Bracha Malkin* John F. Cogan, Jr., and Mary L. endowed in perpetuity Brooks and Linda Zug chair Cornille chair, endowed in perpetuity Elizabeth Ostling Associate Principal
u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 18 photos by Robert Torres and Winslow Townson
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 assistant conductors english horn horns Mike Roylance Principal Yu-An Chang Robert Sheena James Sommerville Margaret and William C. Beranek chair, endowed Principal Rousseau chair, endowed Anna Rakitina in perpetuity Helen Sagoff Slosberg/ in perpetuity Edna S. Kalman chair, orchestra clarinets endowed in perpetuity timpani manager and Richard Sebring director of Timothy Genis William R. Hudgins Associate Principal Sylvia Shippen Wells chair, orchestra Principal Margaret Andersen Congleton endowed in perpetuity personnel Ann S.M. Banks chair, chair, endowed in perpetuity endowed in perpetuity Lynn G. Larsen Rachel Childers Michael Wayne John P. II and Nancy S. Eustis percussion chair, endowed in perpetuity J. William Hudgins assistant Thomas Martin personnel Associate Principal & Michael Winter Peter and Anne Brooke chair, endowed in perpetuity manager E-flat clarinet Elizabeth B. Storer chair, Stanton W. and Elisabeth K. endowed in perpetuity Daniel Bauch (position vacant) Davis chair, endowed Assistant Timpanist Patricia Romeo-Gilbert and in perpetuity Jason Snider Mr. and Mrs. Edward H. Linde Paul B. Gilbert chair Jean-Noël and Mona N. Tariot chair chair bass clarinet Kyle Brightwell stage manager Peter Andrew Lurie chair, (position vacant) trumpets John Demick endowed in perpetuity Thomas Rolfs Matthew McKay Principal Roger Louis Voisin chair, endowed in perpetuity harp 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 sabbatical leave ˚ on leave
week 6 boston symphony orchestra 19
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 139th season, 2019–2020
Thursday, October 24, 8pm | the mr. and mrs. brent l. henry concert Friday, October 25, 1:30pm Saturday, October 26, 8pm
susanna mälkki conducting
fauré “pavane,” opus 50
dieter ammann “the piano concerto (‘gran toccata’)” (american premiere; commissioned by the boston symphony orchestra, andris nelsons, music director, through the generous support of the new works fund established by the massachusetts cultural council, a state agency) andreas haefliger, piano
{intermission}
Marco Borggreve
22 messiaen “alleluia on the trumpet, alleluia on the cymbal,” from “l’ascension” debussy “la mer,” three symphonic sketches From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea
bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family
The evening concerts will end about 9:45 and the afternoon concert about 3:15 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 6 program 23 The Program in Brief...
Fauré’s beautiful Pavane began life in the 1880s as a piece for piano, the orchestral version following in 1887 and an optional chorus being added somewhat later. The structure is simple and songlike; the accompaniment to the lovely melodic line is straightforward. That melody, heard first in the flute, is one of the most famous tunes in the repertoire. The Pavane’s very familiarity, brevity, and sheer mildness have perhaps conspired to make it now a rare item on a BSO concert: the orchestra hasn’t played it since 1986, with Seiji Ozawa conducting, and the Boston Pops last performed it in 1996, under John Williams.
Swiss composer Dieter Ammann’s The Piano Concerto (“Gran Toccata”), a BSO co- commission, receives its American premiere performances in these concerts. Requested by pianist Andreas Haefliger, for whom it was written, the concerto is half an hour long in a single movement. Its almost constant energy is typical of Ammann’s eclectic and multilayered work, which is virtuosic for both the soloist and the orchestral players. Some of the concerto’s visceral excitement is surely in part the product of the composer’s long experience with jazz and progressive funk as a trumpet player, keyboardist, and bassist.
“Alleluia on the trumpet, alleluia on the cymbal” is the third movement of the early orchestral work L’Ascension by the French composer Olivier Messiaen, one of the most important musical voices of the 20th century. Infused with the orchestral colors of Dukas and Debussy but foreshadowing the unique harmonic language of such later works by Messiaen as Quartet for the End of Time and the Turangalîla-symphonie, “Alleluia on the trumpet, alleluia on the cymbal” is a celebratory expression of the composer’s mystical and abiding Catholicism.
Part symphony and part tone poem, Debussy’s La Mer, subtitled “Three Symphonic Sketches,” exhibits many of the characteristics that define his music as well as the idea of musical impressionism. The innovative approach to orchestral color and musical time that made La Mer one of the most influential pieces of the 20th century has also made it an audience favorite for more than a hundred years. Debussy began the piece in 1903, it was premiered in 1905, and the Boston Symphony Orchestra gave the American premiere in March 1907.
Robert Kirzinger
24 Gabriel Fauré “Pavane,” Opus 50
GABRIEL FAURÉ was born at Pamiers, Ariège, France, on May 12, 1845, and died in Paris on November 4, 1924. He composed his “Pavane” originally for piano in the late 1880s. The orchestral version dates from the summer of 1887, at which time Fauré intended it for use at summertime concerts of light music. He later added an optional chorus, as well as an allowance for dancers, after dedicating the work to a patron, the French socialite Elisabeth, Comtesse Greffuhle. Charles Lamoureux led the first performance of the purely orchestral version at a Concert Lamoureux on November 25, 1888. The version with chorus was premiered three days later, at a concert of the Société Nationale de Musique. The Countess Greffuhle assisted Fauré in producing a version with dancers and chorus for a garden party she gave in the Bois de Boulogne in 1891.
THE ORCHESTRAL SCORE OF FAURÉ’S “PAVANE” calls for two each of flutes, oboes, clarinets, and bassoons, two horns, and strings.
In the last months of Fauré’s life, Aaron Copland, then a student in Paris, wrote an article for the American journal, The Musical Quarterly, in which he commented, “The world at large has particular need of Gabriel Fauré today; need of his calm, his naturalness, his restraint, his optimism; need, above all, of the musician and his great art.” These terms sum up much of the effect of Fauré’s music, though they scarcely indicate his importance as the most advanced composer of his generation and one of the greatest teachers of his time. Every voice student learns at least a few of his exquisite songs; every chorus sooner or later essays that most tranquil of 19th-century settings of the Requiem. Instru- mentalists play some of his exquisite chamber works with great frequency, others far less than they deserve. For all practical purposes, orchestras limit themselves to the suite from the incidental music he composed to Maeterlinck’s play Pelléas et Mélisande and a few other small lyric pieces, of which the Opus 24 Élégie for cello and orchestra and the Pavane, Opus 50, are the most familiar.
The pavane was a Renaissance court dance; literally hundreds of composition for solo instrument or ensemble survive to testify to its popularity. It was a processional, often
week 6 program notes 25 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now offers the most international flights from Boston.
Based on 2019 departures from Boston, by Delta and its airline partners. Some offerings are seasonal. used as a sort of “grand march” at the beginning of an evening; couples would move with stately grace around the floor, taking such opportunities for flirting or displaying themselves to others as might be offered by the situation. Fauré certainly never danced a pavane in his life, but when he composed his delicate and seductive score, he was evidently pleased to think of Arcadian nostalgia, and the score is ripe with the moods to be found in his Verlaine song Clair de lune, itself an evocation of Arcadia written the following year.
The structure of the piece is simple three-part song form, and the opening flute solo is perhaps the best-known tune Fauré ever wrote, delicate and supple. The middle section of the dance provides contrast by means of simple phrases over a bass line of descend- ing whole notes, before the opening theme returns, subtly reharmonized, one of the purest examples of Gallic elegance.
Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.
THE FIRST BOSTON SYMPHONY PERFORMANCE OF FAURÉ’S “PAVANE” was given by Charles Munch on January 18, 1955, in Cambridge, followed by a single subscription performance that February 15 in Symphony Hall and a Tanglewood performance on July 15 that same year. The only BSO performances since then were given by Andrew Davis in November 1983 (with the Tanglewood Festival Chorus, John Oliver, conductor) and Seiji Ozawa in November 1986.
week 6 program notes 27 Now Leasing Call to learn more about our move in specials
Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick Dieter Ammann “The Piano Concerto (‘Gran Toccata’)”
DIETER AMMANN was born in Aarau, Switzerland, on May 17, 1962, and lives in Zofingen, Switzerland. He began accumulating ideas and sketches for “The Piano Concerto (‘Gran Toccata’)” in late 2016, started composing in earnest in the first part of 2017, and finished the score in sum- mer 2019. The concerto was requested by pianist Andreas Haefliger, who helped assemble a consortium of orchestras to commission it. The Boston Symphony Orchestra is a co-commissioner along with BBC Radio 3, Konzerthaus Wien, the Lucerne Festival, Münchner Philharmoniker, and Taipei Symphony Orchestra, supported by Pro Helvetia, the Swiss Arts Council. Andreas Haefliger gave the world premiere of “The Piano Concerto” at the BBC Proms on August 19, 2019, with the BBC Symphony Orchestra led by Sakari Oramo. These are the American premiere performances of the concerto, and the first BSO performances of any work by Dieter Ammann.
IN ADDITION TO THE SOLO PIANO, the score of “The Piano Concerto” calls for three flutes (third doubling piccolo), three oboes, three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, harp (also playing claves), percussion (four players: I. crotales, Japanese temple bell (on timpani), two gongs, timpani, snare drum, three bongos, tom-tom, large slit drum, castanets, ride cymbal, bass drum; II. marimbaphone, tubular bells, bongo, bass drum, splash cymbal, sizzle cymbal; III. vibraphone, three tom-toms, four temple blocks, triangle, splash cymbal, sizzle cymbal; IV. glockenspiel, five gongs, piccolo snare, six woodblocks, vibraslap, crash cymbal, tamtam), and strings. The d uration of the piece is about thirty minutes.
Dieter Amman worked his way into composition via hands-on performing, via creating charts for bands and creating arrangements on the fly with jazz- and funk-oriented projects, and via formal study of music theory. He received his first commission even before he had really written a fully notated piece. The result was Notorisch motorisch (“Notoriously motoric”), written at the request of the Ensemble für Neue Musik Zurich for a concert of new works by musicians from the jazz sphere. The piece was a success: from that point, Amman relates, he has never lacked for commissions.
week 6 program notes 29 Dieter Ammann on his “The Piano Concerto (‘Grand Toccata’)”
The long genesis of the piano concerto is tightly connected to the soloist, Andreas Haefliger. When we first met years ago we instantly realized that our chemistry was right. One day Andreas suggested that I should write a piano concerto for him. This proposal did not delight me in the beginning since I knew that it would take me not only months but years to work on this piece. This premonition was based on two reasons. My scrupulous, perfectionist way of working is mainly responsible for the fact that even the creation of a chamber music piece can take up to two years. The resulting music is densely woven, highly energetic, and very often accompanied by high tempos.
I was fully aware that the working duration of a concerto for piano, which itself is a small orches- tra, and large orchestra would be protracted further. When I began my work on glut, a piece for orchestra, in 2014, I seemed to have subconsciously accepted Andreas’s challenge already because I decided to integrate the piano as an orchestral instrument. These experiences were a further important step toward the piano concerto, which I started working on in the end of 2016.
The piece starts with a solitary, pulsing single tone which rapidly causes reactions by the orchestra. It is obvious that the orchestra is not just a mere passive accompaniment, but it rather meets the soloist at eye level. The interplay between the two congenial partners creates a dramaturgically gripping progression with many surprising twists and turns. As a listener I like to be thrown into a variety of different musical conditions and to be thrilled by the music. As a composer, I condense every “tonal vision” with the result that they can potentially become carriers of high energy. This high level of density within the piano’s and the orchestra’s parts and furthermore the close interlocking of the two parties require great virtuosity of all participants. During the musical drama the soloist can even be swallowed by the orchestra and might be turned into a cog in the big “orchestra machine.” The piano enters various partnerships with varying instrumental groups, for example when the piano merges with marimba and vibraphone to form a single instrument.
Due to its driving behavior the piano sometimes turns into some type of percussion and shows its rhythmic virtuosity through percussive figures (hence the subtitle). At times the music also comes to a rest and draws breath in static or inwardly iridescent moments, just to continue its path with new strength. The harmony also offers a wide range, in which the orchestra can unfold its full colorfulness. There are bright, consonant chords, but also hard sound clusters up to noisy sounds, whereby the tempered tuning meets microtonality.
Towards the end of the musical journey the soloist, in a moment of inner contemplation, cites a quiet, chorale-like theme from my very first composition.
But—as always in arts—the effect and the piece’s message lie between the notes and beyond words. The listeners are invited to discover these for themselves in a very personal, subjective way. Although the major part of the concerto was written during night sessions and sometimes until the morning dawned, the result is bright music, dedicated to people with an alert mind.
Dieter Ammann
30 Ammann’s father was a high school math and science teacher, but also an avid and skilled amateur musician who earned his living during his university studies by playing piano in restaurants, using his own transcriptions from the radio. He had hoped to become a professional pianist, but his own father forbid it. Dieter and his brother were both encouraged in their own musical pursuits; Dieter began playing trumpet at age seven because his brother had taken up the flugelhorn. He also had basic piano lessons with his father. Although by his high school years Ammann was playing music constantly—having meanwhile added electric guitar and electric and acoustic bass to his arsenal—he hadn’t considered making it his profession, instead contemplating a career in journalism. It was only when a friend decided to study music education that Ammann himself enrolled at the Academy for Music Education and Church Music in Lucerne. He also studied formally at the eminent Swiss Jazz School in Bern.
During the 1980s Ammann performed in jazz and rock settings internationally as a leader and with such artists as the American saxophonist Eddie Harris and the popular German singer Udo Lindenberg. Interested in expanding his technique, he began studying com- position and theory at the Music Academy in Basel and participated in master classes with such composers as Witold Lutosławski and Wolfgang Rihm. Since Notorisch motorisch, dating from 1991, Ammann has continued to work frequently with Ensemble für Neue Musik Zurich and has been commissioned by such organizations and ensembles as Ensemble Intercontemporain, the Amar Quartet, Ernst von Siemens Musikstiftung, Lucerne Symphony Orchestra, and Tonhalle-Orchester Zürich, as well as by numerous festivals. In 2010 he was composer-in-residence of the Lucerne Festival. In addition to composing, he lectures at the University of Arts in Bern and is a professor of theory and composition at the Music Academy Lucerne.
In contrast to the improvised music he had been performing for many years, in his early notated compositions Ammann applied a rigorous, twelve-tone approach to pitch,
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week 6 program notes 31 but knew he wanted to arrive at a much more open, eclectic, and spontaneous style. Such pieces as his Imagination Against Numbers demonstrate the process-vs.-freedom dichotomy of these early works. The meticulousness of his compositional process— as in the case of The Piano Concerto, many of his works take several years to come to fruition—belies the dynamic and impulsive quality of his most characteristic pieces. (Not surprisingly, the music of György Ligeti is an important influence, as is that of Xenakis and Georg Friedrich Haas.) He speaks of the interplay of ideas within a piece as its “dramaturgy,” suggesting that the interrelationships among musical materials can be thought of as driven by the interplay of strong, contrasting expressive ideas, like the dramatic conflicts that drive a novel or play.
That said, Ammann’s music is abstract in the sense that it reflects no extramusical program, as a tone poem might; his work is “about” the music itself and the people who perform it. Because of his experience as a performer, he is constantly aware of the dynamic relationships among players in an ensemble. He writes, [P]eople can tell my background as a performing musician from my treatment of instruments. It is important to me that, although the boundaries are tested in terms of playing technique, the music remains realizable. At the same time, I have noticed that my intention very often coincides with the technical possibilities of the instrument, that I somehow feel and think out of the instrument. A characteristic of improvised music is also, that at almost every moment it is constructed as a dialogue. I also try to realize this principle of action-reaction in composed music between instrumental groups or individual instruments, and perhaps it also seems to be so lively for that reason.
That last sentence is particularly relevant to The Piano Concerto (“Gran Toccata”), the unusual title configuration hinting at Ammann’s very deliberate consideration of the traditional concerto idea. (“The” is actually part of the title, and the title would otherwise be formulated generically, i.e., Piano Concerto, with no italics—subtle but significant.) As he explains in his own program note (see page 30), he thinks of the piano itself as a kind of orchestra, so his concerto would be a blending of two musical forces with phenomenally broad expressive ranges. “Gran Toccata” refers to the opposing need that the piano solo be virtuosic and exciting, which is to say, soloistic: “toccata,” from the Italian for “touch,” is a Baroque keyboard genre requiring a fleet, finessed playing style. Without question, the piano part of the concerto is very difficult indeed, as is the orchestral part, which by no means should be considered accompaniment for the soloist.
Although Ammann was initially resistant to undertaking the big project of writing the concerto, he jokingly told Andreas Haefliger that he would only undertake it if the pianist assembled a consortium including “an important U.S. orchestra” to go in on the com- mission, thinking such a task would be so difficult that he could sidestep the project indefinitely. Ultimately Haefliger’s international cachet as a performer won out. Starting work on the piece in 2016, Ammann first spent several months researching types of piano texture that appealed to him, compiling examples of both solo textures and works whose blend of soloist and ensemble worked the best for his purposes. At some point,
week 6 program notes 33 34 that whole portfolio of research was stolen during a trip, and he was left only with the memory of the most relevant possibilities. At that point, he said, he put examples aside and started to write in earnest in 2017. What the composer initially estimated to be a seventeen-minute piece grew to half an hour. Once the piece was largely complete, Ammann’s publisher Bärenreiter printed out the piano part in early 2019 so Haefliger could begin to work on it with the composer. The world premiere at the BBC Proms in London in August 2019 was followed by a performance in Taipei in September. After the American premiere in Boston, Haefliger plays the piece in Helsinki next month and in Munich in January, both under Susanna Mälkki’s direction.
Ammann tends to begin his pieces at the beginning and develop all the subsequent music of the piece organically from that initial idea, though he also sometimes returns to ideas and music developed in earlier pieces through the improvisatory, stream-of- consciousness process of composing. Ammann had originally intended to call the concerto no templates, which he says “primarily means an openness of thought in the approach to this genre, but also an openness in relation to the variety of means used.” In The Piano Concerto, the sheer density of event and the treatment of the piano as an orchestra are further explorations of ideas found in the composer’s orchestral work glut. Audible, distinct musical styles abound throughout The Concerto, ranging from jazz to contemporary musique spectrale passages, representing less stylistic archetypes than the breadth of the composer’s expressive voice. Much more specific and referential is a direct quotation near the end of the concerto of one of Ammann’s earliest compositions. These eclectic resources are not merely the material of the piece but its very philosophy; the piece is a kind of reflection of the vast and multifaceted energies of the world itself.
Although The Piano Concerto has no programmatic underpinning, Ammann added another dimension to the piece via a “motto” printed at the head of the score: “The ‘fire’ of this music is to be perceived as a beacon to fight climate change.” Asked to elaborate, he wrote, Man is an entity. It’s not like I am an artist only on certain days, then again a private individual and the next day a politically interested citizen. There shouldn’t really be a question about the source of my motivation because the scientific facts are on the table. But humans are just very lazy and I am no exception. Personal responsibility and voluntariness are not effective in solving those kinds of problems especially since this catastrophe does not occur suddenly but gradually. Hence, a change of thinking is necessary. We must make it clear to those in charge that we are prepared to accept certain restrictions in order to prevent worse from happening. But first of all we need to know and accept that we have a huge, perhaps existentially threatening problem. Every hint, no matter how small, can help.
Robert Kirzinger
Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.
week 6 program notes 35 Covering world news to art news. Discover everything newsworthy at wbur.org. For the full spectrum arts and culture happening right here in our community, visit The ARTery at wbur.org/artery. Olivier Messiaen “Alleluia on the trumpet, alleluia on the cymbal,” from “L’Ascension”
OLIVIER MESSIAEN was born in Avignon, France, on December 10, 1908, and died in Paris on April 27, 1992. He began the four-movement orchestral work “L’Ascension, Quatres meditations symphoniques” in 1933, orchestrated it the following year, and completed an organ version of three of the movements (excluding “Alleluia on the trumpet, alleluia on the cymbal”) the fol- lowing year. The organ version was premiered in Paris in January 1935, the orchestral work in February 1935 under the direction of Robert Siohan.
THE SCORE OF “ALLELUIA ON THE TRUMPET, ALLELUIA ON THE CYMBAL” calls for three flutes, two oboes and English horn, three clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, tambourine, bass drum), and strings. The duration of the piece is about six minutes.
Of the great composers born in this century, Olivier Messiaen had perhaps the most distinctive compositional voice. Combining a quintessentially French palette of instru- mental colors, a well-developed and unique use of modal harmony and melody, and, most characteristically, music derived from birdsong, Messiaen’s music was and continues to be immensely influential for later generations of composers. His unique approach to harmony, timbre, and rhythm prefigured a wide swath of mainstream contemporary musical thinking, even beyond classical music. Many of his pieces are on the fringes of the standard orchestral and piano repertoires, but remain exotic for the general listener. His best-known orchestral piece is the sprawling, strange, exuberant Turangalîla-symphonie, commissioned by BSO conductor Serge Koussevitzky and premiered by the orchestra under Leonard Bernstein’s direction in December 1949. His earlier Quartet for the End of Time, composed in a German prison camp in 1941, is one of the acknowledged classics of 20th-century chamber repertoire.
Messiaen was born to literary parents, his father a translator of Shakespeare and a historian of English literature, his mother a poet. His precocity as a child encompassed
week 6 program notes 37 both the theater and music, but music would be his choice. Debussy’s Pelléas et Mélisande was an enormous and long-lasting influence. He began studies at age eleven at the Paris Conservatoire, where his teachers included Paul Dukas and Marcel Dupré. In 1942 he joined the Conservatoire faculty, becoming one of the most important figures for the generation of composers that included Boulez and Stockhausen. With his second wife, the pianist Yvonne Loriod, he was also a mentor to such younger musicians as pianist Pierre-Laurent Aimard and pianist-composer George Benjamin.
In 1931 Messiaen became an organist at Paris’s La Sainte Trinité, one of the most important posts in Europe; he remained there the rest of his life. Messiaen’s art and work were fully grounded in his Catholic faith and infused with a mystical joy in the natural world. From his childhood Messiaen found a worldly manifestation of the divine
38 in birds, the songs of which he began transcribing early on. Beginning in the 1930s, be began incorporating these in stylized form in his own music. Including Quartet for the End of Time and Turangalîla, most of Messiaen’s major works after 1940 contain transformed birdsong, including the three-hour solo piano cycle Catalogue d’oiseaux. Meditations on Christian concepts are also fundamental to his work, as in L’Ascension; other important Catholic-oriented pieces include his big two-piano cycle Visions de l’Amen and the solo piano Vingt Regards sur l’Enfant-Jésus, the orchestral works Et exspecto resurrectionem mortuorum and Éclairs sur l’Au-delá, and La Transfiguration de Notre Seigneur Jésus-Christ for soloists, orchestra, and chorus. Messiaen’s opera Saint-François d’Assise (1983) was the fullest integration of his musical, ornithological, and spiritual concerns. He also composed a large catalog of solo organ pieces.
The four-movement orchestral work L’Ascension was one of several large ensemble works, also including Les Offrandes oubliées and Le Tombeau resplendissant, that Messiaen composed in the years following his graduation from the Conservatoire. Although these works predate a codification of technique and style that he under- took in the early 1940s, outlined in his book Technique of My Musical Language, the Debussy-and-Dukas-influenced harmony and orchestration anticipate his mature style. Particularly characteristic is his use of long phrases and time spans, in some cases derived from non-Western metrical modes, a dimension he was to explore intensively in the following decade.
Messiaen may have conceived L’Ascension to work as both an organ piece and an orchestral one, but the completion of the orchestral scoring predated the organ version, in which he substituted a new third movement. Like the other movements of L’Ascension, “Alleluia on the trumpet, alleluia on the cymbal” has appended after its title a biblical quote. This one is from Psalm 47: “God has ascended amid shouts of joy, the Lord among the sounding of trumpets. Clap your hands, all you nations; shout to God with cries of joy.” Of the three movements, this, understandably, is the least strictly “meditative.” The clearest precedent for the mood and the orchestration is the Debussy of La Mer. The tempo marking is “Vif et joyeux” (“Lively and joyous”), and the time signature is a dancing 3/8, although Messiaen frequently displaces accents to blur the meter. Trumpets are unabashedly in the foreground in the first part of the movement, but strings become dominant. Some two-thirds of the way through the piece, a climax of big, dense chords segues to a driving phrase that expands throughout the orchestra until the final cadence.
Robert Kirzinger
THE ONLY PREVIOUS BSO PERFORMANCES OF “ALLELUJAH ON THE TRUMPET, ALLELUJAH ON THE CYMBAL” were in conjunction with performances of Messiaen’s complete “L’Ascension”: at Tanglewood under Serge Koussevitzky on August 14, 1949 (the only BSO performance at Tangle- wood, though Gunther Schuller led a Tanglewood Music Center Orchestra performance there in August 1975); under Eugene Ormandy in November 1959, and under Richard Burgin in December 1962.
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ACHILLE-CLAUDE DEBUSSY was born on August 22, 1862, at St.-Germain-en-Laye, France, and died on March 25, 1918, in Paris. He began work on “La Mer” during the summer of 1903 and completed the score in March 1905, though he continued to make revisions for many years. Camille Chevillard conducted the Lamoureux Orchestra in the first performance on October 15, 1905, the American premiere being given on March 1, 1907, by the Boston Symphony Orchestra under the direction of Karl Muck.
“LA MER” IS SCORED for two flutes and piccolo, two oboes and English horn, two clarinets, three bassoons and contrabassoon (the latter in the third movement only), four horns, three trum- pets, two cornets à piston (third movement only), three trombones, bass tuba, timpani, cymbals, tam-tam, triangle, glockenspiel, bass drum, two harps, and strings. The string section Debussy hoped for was an unusually large one, including sixteen cellos.
Debussy had very little real experience of the sea, and that usually from the vantage point of a sandy beach. Yet among the few views of his childhood that the unusually private composer vouchsafed to the world was the occasional affectionate reference to summer vacations at Cannes, where he learned to love the sea. His parents even made plans that he should become a sailor (a life that could hardly have suited him for long), but they were scotched when a certain Mme. Mauté, who was giving the nine-year-old boy piano lessons, discovered his musical talent, and within a year he was studying piano and theory at the Paris Conservatoire.
Still, when he came to write La Mer thirty years later, Debussy commented that he was able to draw upon “innumerable memories” and that these were “worth more than reality, which generally weighs down one’s thoughts too heavily.” In the meantime, De bussy’s memories were charged with images drawn from literature and art. One hint of a source for the piece comes from the title Debussy originally thought of giving the first movement: “Calm sea around the Sanguinary Islands.” This was, in fact, the title
week 6 program notes 41 Program page for the first Boston Symphony Orchestra performances—also the first American performances—of Debussy’s “La Mer” on March 1 and 2, 1907, with Karl Muck conducting (BSO Archives)
42 Hokusai’s “The Hollow of the Wave off Kanagawa”
of a short story by Camille Mauclair that had apparently been published in 1893 (“Îles San guinaires” is the French name for Sardinia and Corsica). It is even conceivable that De bussy was thinking of writing a sea-piece using this title as early as the 1890s, though in fact the first clear reference toLa Mer comes from a letter of September 12, 1903, to André Messager: “I am working on three symphonic sketches under the title La Mer: Mer belle aux Îles Sanguinaires ; Jeux de vagues; and La Vent fait danser la mer.” Only the second of these titles (“Play of the Waves”) remained in the final version. The first came from Mauclair’s story, to be changed in the end to “From Dawn to Noon on the Sea.” The last (“The Wind Makes the Sea Dance”) was later turned into the rather more neutral “Dialogue of the Wind and the Sea.”
But the most direct inspiration for La Mer was probably from art. Debussy had admired the sea paintings of Turner, with their misty impalpability, which had been on display in Paris and which he may also have seen during London visits in 1902 and 1903, shortly before he began composing La Mer. Still more influential were the Japan ese artists Hokusai and Hiroshige, whose work became enormously popular in France by the end of the 19th century. When the score of La Mer was published, Debussy requested that the cover design include a detail of Hokusai’s most famous print, “The Hollow of the Wave off Kanagawa,” the part showing the giant wave towering above and starting to curve over in its downward fall, its foaming billows frozen in a stylized pattern that almost re sembles leaves on a tree (see above).
Debussy came to La Mer soon after the great success of his one completed opera, Pelléas et Mélisande , performed to great acclaim in April 1902. In the following years, he showed a new confidence in his art, prolifically turning out the second set ofFêtes galantes, the first set ofIma ges for piano, and the brilliant piano solo L’Îsle joyeuse, as well as La Mer. Moreover he may well have expected La Mer to be even more successful with the public than the opera had been, if only because the music was more assertive than that of the
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44 opera (whose whole dramatic point is inactivity, faithfully mirrored in the music). La Mer, for all of Debussy’s modesty in calling it simply “three symphonic sketches,” is nothing less than a full-fledged symphony, with interrelationships between the movements and an artful balance of tension and repose, climax and release. It has been called the great- est symphony ever written by a French composer.
But the work at its premiere caused violent controversy, with assessments ranging from “the composer’s finest work” to “lifeless as dried plants in a herbarium.” The rehearsals had been marked by overt objections from the members of the orchestra. Debussy later told Stravinsky that the violinists had tied handkerchiefs to the tips of their bows in rehearsal as a sign of ridicule and protest. Part of the reason may have been non-musical: Debussy was, at just that time, an object of scandal. In the autumn of 1903 he had met Emma Bardac, the wife of a banker. In June 1904 he left his wife and moved into an apartment with Bardac, where they lived for the rest of Debussy’s life. In October his wife attempted suicide, and a number of Debussy’s friends broke off relations with him.
The mixed impression of the premiere was reversed when Debussy himself conducted La Mer in Paris on January 19 and 26, 1908—even though he had never before conducted an orchestra. Yet, as he wrote later, “One of my main impressions is that I really reached the heart of my own music.” The two performances were spectacularly successful in a way Debussy had not seen since the premiere of Pelléas. (To give credit where credit is, at least in part, due, the orchestra had been prepared by Eduard Colonne before the composer took over for the last rehearsals.)
By that time Karl Muck had already led the Boston Symphony Orchestra in the American premiere, on which occasion the reactions also covered a wide gamut. Kent Perkins, in the Boston American, decided that “one can see and hear the ocean better at Nahant or Marblehead Neck.” Louis C. Elson, in the Advertiser, was sarcastically negative: “French- men are notoriously bad sailors, and a Gallic picture of the sea is apt to run more to stewards and basins and lemons than to the wild majesty of Poseidon.... If this be Music we would much prefer to leave the Heavenly Maid until she has got over her Hysterics.” But Philip Hale (later the BSO’s program annotator), in the Sunday Herald, though unable to “explain” the piece, found it full of fascination: “The sketches are more than a remark- able tour de force; they are something more than essays in a strange language. The hearer must cast aside all theories about how music should be written; he must listen in good faith.” Certainly La Mer has never been amenable to the simple summaries of formal elements such as “sonata form” that can at least give direction to the listener’s perceptions of, say, a classical symphony. The use of orchestral color is more immedi- ately identifiable than melodic shapes, though these play a crucial role in the work as well, and the harmonies are sui generis.
The first movement’s title, “From Dawn to Noon on the Sea,” is not intended to prescribe a particular program but merely to indicate a progression from near darkness, in which objects are indistinct, to brightness, in which they are clearly perceptible. (Debus sy’s friend Erik Satie, always a joker, and one who loved inventing elaborate titles for his own
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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 music, once commented to Debussy that he “particularly liked the bit at a quarter to eleven.”) Debussy’s pictorialism is wonderfully evocative in its suggestion of indistinct outlines that gradually appear to view, the light evidently breaking forth in the undulating tremolos of the strings just at the moment that the principal key, D-flat major, is estab- lished. The horns resound with melodic shapes using pentatonic scales over a moving cello line that is also pentatonic. Since this five-note scale is often used by composers to symbolize the Orient, at least one commentator has suggested, possibly with tongue in cheek, that Debussy chose to open in this way because, of course, the sun rises in the east! A striking change comes with a new theme in the cellos, which seem at first to bring the motion to a halt and then proceed in wavelike triplets, which build to the movement’s climax.
The second movement, “Play of the Waves,” is a lighter scherzo, scored with extreme delicacy. It is a contrasting interlude between the stormy and emphatic passions of the first and last movements.
“Dialogue of the Wind and the Sea” begins with an evident pictorial image: the waves softly surging up in the low strings, answered by the winds—the woodwinds, in fact— blowing high up in chromatic shrieks. The struggle of wind and waves is developed at length, turning to material drawn from the opening movement, and building to a brilliant sunlit conclusion.
Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.
THE FIRST UNITED STATES PERFORMANCES—WHICH WERE ALSO THE FIRST BOSTON SYMPHONY PERFORMANCES—of “La Mer” were led by Karl Muck on March 1 and 2, 1907, subsequent BSO performances being given also by Pierre Monteux, Serge Koussevitzky, Dimitri Mitropoulos, Richard Burgin, Charles Munch, Ernest Ansermet, Vladimir Golschmann, Jean Martinon, Pierre Boulez, Michael Tilson Thomas, Eugene Ormandy, Erich Leinsdorf, Joseph Silverstein, Sir Colin Davis, Pascal Verrot, Seiji Ozawa, Marek Janowski, Bernard Haitink, Robert Spano, James Levine, Ludovic Morlot, Rafael Frühbeck de Burgos, Daniele Gatti, Charles Dutoit, and Andris Nelsons (the most recent subscription performances, in April 2016, followed that May by European tour performances in Essen, Munich, and Vienna; and the most recent Tanglewood performance, on July 19, 2019).
week 6 program notes 47
To Read and Hear More...
Dieter Ammann’s website (dieterammann.ch) is the first place to start for information about the composer. Also useful are the websites of his publisher, Bärenreiter (baerenreiter.com), and of the Swiss Music Edition, a promoter of contemporary Swiss composers (musinfo.ch). Both sites include work-lists and links to interviews and other information. The production company Sternstunde Musik is in the process of making a film about Ammann, which will include footage of the composer working with pianist Andreas Haefliger onThe Piano Concerto; this is due out early next year and should be viewable online, although it will be, in large part, in German. A recording of the world premiere performance of Ammann’s The Piano Concerto (“Gran Toccata”) by Andreas Haefligher and the BBC Symphony Orchestra under Sakari Oramo at the BBC Proms in August 2019 is currently available on YouTube (audio only). Many of Ammann’s other works can be found there as well, including the recent orchestral piece glut. Commercial recordings of his music include an all-Ammann disc by the Ensemble für Neue Musik Zurich called “The Freedom of Speech” (hatHUT) and a “Composer Portrait” CD by various artists that includes his first two string quartets and other works (Musiques Suisses). Violinist Carolin Widmann’s performance of Ammann’s violin concerto Unbalanced Instability is on a Musiques Suisses compilation disc, “Grammont Selection 7”; his Le Réseau des reprises for large ensemble is on “Grammont Selection 8.” Ammann’s jazz and freefunk work—including live record- ings by his longstanding progressive funk band Donkey Kong’s Multi Scream—is well-represented on recordings, though many of these might not be available in the United States. See the composer’s website for a listing.
An excellent book on Messiaen and his music is Peter Hill and Nigel Simeone’s Messiaen, published in 2005 (Yale University Press). A pianist who has recorded all of Messiaen’s piano music, Peter Hill was a student of the composer and his wife, Yvonne Loriod. He is also the editor of the largest English-language study of Messiaen’s music, The Messiaen Companion, a compilation of essays by such luminaries as Hill, Paul Griffiths, Wilfred Mellers, and Jane Manning, with contributions by Yvonne Loriod and Messiaen’s pupils Pierre Boulez and George Benjamin (Amadeus Press paperback, 1995). The book also contains a work-list and discography, though the latter is now well out of date. Visions of Amen: The Early Life and Music of Olivier Messiaen by Stephen Schloesser discusses the composer’s early work in light of his Christianity; it includes an analysis of the composer’s two-piano work Visions de l’Amen (Eerdmans). Also important is Olivier Messiaen: Music
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50 and Color: Conversations with Claude Samuel (Amadeus Press). The life of Messiaen by Christopher Dingle is a useful volume in the series “Musical Lives” (Cambridge paperback). The New Grove (1980) article on Messiaen by André Boucourechliev was included in The New Grove Twentieth-Century French Masters: Fauré, Debussy, Satie, Ravel, Poulenc, Messiaen, Boulez (Norton paperback). The Messiaen article in the revised Grove (2001) is by Paul Griffiths, whose lucid Olivier Messiaen and the Music of Time is a very readable introduction (Faber & Faber). Organist and Boston University professor Andrew Shenton’s Messiaen the Theologian was published in 2011 (Ashgate). Messiaen’s own Technique of My Musical Language from the 1940s is available in a pricey reprint-on-demand version (Reprint Services hardcover). His seven-volume Traité de rythme, de couleur, et d’ornithologie (1949-1992) has not, as far as I know, been translated into English, but is useful for the scholar for its specific discussion of the composer’s own music; this is, even for those who read French, a very detailed and technical source. Expect to find it only in a very good music library. Also worth seeking is a DVD, released in 2007, of a documentary by director Olivier Mille on Messiaen’s life and work called Olivier Messiaen: The Crystal Liturgie (Juxtapositions).
Recordings of L’Ascension—the orchestral work of which “Alleluia on the trumpet, alleluia on the cymbal” is the third movement—include Paavo Järvi’s recent release with the Zurich Tonhalle Orchestra, together with other mostly early works (Alpha); Marius Constant’s with the Orchestre Philharmonique de l’ORTF (Erato); Messiaen protégé Myung-Whun Chung’s with l’Orchestre de l’Opéra Bastille (DG), Sylvain Cambreling’s with the Southwest German Radio Symphony Orchestra (Hänssler), and Antoni Wit’s with the Polish National Radio Symphony Orchestra (Naxos). Most of these are also available via streaming services. (The organ version of L’Ascension is also available in several recordings, but its third movement is different from that of the orchestral version.)
Robert Kirzinger
Jessica Duchen’s Fauré is a copiously illustrated biography in the series “20th-Century Composers” (Phaidon paperback). The article on Fauré in the 2001 edition of The New Grove is by Jean-Michael Nectoux; this is a slightly revised version of his Fauré entry from the 1980 Grove. Nectoux’s Gabriel Fauré: Les Voix du clair-obscur was translated into English by Roger Nichols as Gabriel Fauré: A Musical Life (Cambridge). The same author’s French-language Gabriel Fauré: Correspondence was translated into English by J.A. Underwood as Gabriel Fauré: His Life through his Letters (London, Marion Boyars).
Seiji Ozawa recorded Fauré’s Pavane with the Boston Symphony Orchestra and Tanglewood Festival Chorus, John Oliver, conductor, in 1986 as part of an all-Fauré disc (Deutsche Grammophon). Charles Dutoit’s recording with the Montreal Symphony Orchestra (Decca) and Ludovic Morlot’s live with the Seattle Symphony Orchestra (Seattle Symphony Media) also include the choral part. Recordings minus the choral part include Michael Tilson Thomas’s live with the San Francisco Symphony (on that orchestra’s own label) and Yan Pascal Tortelier’s with the BBC Philharmonic Orchestra (Chandos).
week 6 read and hear more 51 There’s nothing like a well-staged house.
Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com Edward Lockspeiser’s Debussy: His Life and Mind, in two volumes, is the standard study of the composer (Macmillan). Roger Nichols’s The life of Debussy is in the useful series “Musical lives” (Cambridge paperback). Also from Nichols is Debussy Remembered, a 2003 anthology drawing upon recollections from various friends, colleagues, and acquaintances of the composer (Amadeus Press). Victor Lederer’s Debussy: The Quiet Revolutionary, a close look at the composer’s musical style and output, is accompanied by a CD that is specifically referenced in Lederer’s discussion of the music (also Amadeus Press). Still important for its wealth of contemporary documentation is Léon Vallas’s Claude Debussy: His Life and Works, translated from the French by Maire and Grace O’Brien and published originally in 1933 (Dover paperback). Also useful are David Cox’s Debussy Orchestral Music in the series of BBC Music Guides (University of Washington paperback), Marcel Dietschy’s La Passion de Claude Debussy, edited and translated—as A Portrait of Claude Debussy—by William Ashbrook and Margaret G. Cobb (Oxford), and two collections of essays: Debussy and his World, edited by Jane F. Fulcher (Princeton University paperback), and The Cambridge Companion to Debussy, edited by Simon Trezise and Jonathan Cross (Cambridge University Press).
The Boston Symphony Orchestra has recorded La Mer four times, under the direction of Colin Davis (in 1982, for Philips), Charles Munch (1956; RCA, virtually never out of the catalog since its initial release), Pierre Monteux (1954; RCA), and Serge Koussevitzky (1938-39; RCA). Among the many other recordings are Pierre Boulez’s with the Cleveland Orchestra (Deutsche Grammophon), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips), Simon Rattle’s with the Berlin Philharmonic (Warner Classics), Charles Dutoit’s with the Montreal Symphony Orchestra (Decca), Esa-Pekka Salonen’s with the Los Angeles Philharmonic (Sony Classical), and George Szell’s with the Cleveland Orchestra (Sony). A March 1962 Charles Munch/BSO broadcast of La Mer is included in the BSO’s twelve-disc set “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available at the Symphony Shop or at bso. org). An April 1962 Munch/BSO telecast of La Mer from Sanders Theatre in Cambridge is available on DVD (VAI, with Berlioz’s Symphonie fantastique and the Suite No. 2 from Ravel’s Daphnis et Chloé).
Marc Mandel
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Susanna Mälkki
Susanna Mälkki is one of today’s most sought-after conductors. Her versatility and broad repertoire have taken her to symphony and chamber orchestras, contemporary music ensembles, and opera houses around the world. The 2019-20 season is her fourth as chief conductor of the Helsinki Philharmonic Orchestra, with highlights including premieres by Finland’s preeminent composers Kaija Saariaho and Lotta Wennäkoski; a new work by Felipe Lara, co-commissioned with the Los Angeles Philharmonic and featuring double bassist/vocalist Esperanza Spalding and flutist Claire Chase; a tour to Belgium, and the continuation of the orchestra’s “Bartók Trilogy” recordings for BIS. As part of her third season as principal guest conductor of the Los Angeles Philharmonic, Ms. Mälkki pays tribute to the late Oliver Knussen, programming his Violin Concerto and co-curating, with violinist Leila Josefowicz, a New Music Group concert centered around his chamber music. Previously she was principal guest conductor of the Gulbenkian Orchestra (2013-17) and music director of the Ensemble Intercontemporain (2006-13). Engagements as guest conductor this season include returns to the Boston Symphony, New York Philharmonic, Cleveland Orchestra, Chicago Symphony, London Philharmonic, and London Symphony Orchestra, the Münchner Philharmoniker, and Orchestre National de Lyon, as well as debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestre de Paris, and Orchestre Philharmonique de Monte-Carlo. A renowned opera conductor, Ms. Mälkki makes her debut at the Festival d’Aix en Provence in 2020, conducting the world premiere of Saariaho’s new opera, Innocence. She also returns to the Opéra National de Paris to conduct Boesmans’s Yvonne, princesse de Bourgogne; past engagements there include
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56 Dvoˇrák’s Rusalka and the world premiere of Francesconi’s Trompe-la-Mort. She made her debut at the Vienna Staatsoper in 2018 with Gottfried von Einem’s Dantons Tod and her Metropolitan Opera debut in 2016 with Saariaho’s L’Amour de loin. In 2011 she became the first woman to conduct at La Scala in Milan, returning there in 2014. A former student of the Sibelius Academy, Susanna Mälkki studied with Jorma Panula and Leif Segerstam. Prior to her conducting studies, she had a successful career as a cellist and from 1995 to 1998 was one of the principals of the Gothenburg Symphony. In June 2010 she was elected a Fellow of the Royal Academy of Music in London; she is also a member of the Royal Swedish Academy of Music. Ms. Mälkki was awarded the Pro Finlandia Medal of the Order of the Lion of Finland—one of Finland’s highest honors—in 2011 and in January 2016 was made a Chevalier of the Légion d’Honneur in France. She was Musical America’s 2017 Conductor of the Year. In November 2017 she was awarded the Nordic Council Music Prize. Susanna Mälkki has appeared with the BSO on three previous occasions. She made her subscription series debut in April 2009 with music of Ravel, Debussy, and Stravinsky, returning here in February 2011 to conduct Haydn, Dvoˇrák, Sibelius, and the American premiere of Unsuk Chin’s Concerto for Cello and Orchestra. She made her Tanglewood debut in August 2010 with a program of Mendelssohn and Beethoven.
Andreas Haefliger
Pianist Andreas Haefliger was born into a distinguished Swiss musical family and grew up in Germany, going on to study at the Juilliard School. He was quickly recognized as a pianist of the first rank, and engagements with major U.S. orchestras followed swiftly, among them the Cleveland Orchestra, San Francisco Symphony, the Los Angeles and New York philharmonics, and the Boston, Chicago, and Pittsburgh symphony orchestras. His European appearances have encompassed such major festivals and orchestras as the Budapest Festival Orchestra, Deutsche Symphonie-Orchester Berlin, London Symphony Orchestra, the Munich and Rotterdam philharmonics, the Orchestre de Paris, Royal Concert- gebouworkest, and Vienna Symphony. He has ongoing relationships with the Edinburgh and Lucerne festivals, Vienna’s Konzerthaus, and other major halls across North America and Asia. Mr. Haefliger is a regular visitor to London’s Wigmore Hall with his“ Perspectives”
week 6 guest artists 57 BUILDING SPACES THAT CREATE HARMONY
Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. series, in which he performs the complete piano works of Beethoven alongside works by other composers, from Mozart to Ligeti. This series has formed the focus of Mr. Haefliger’s solo recital appearances and CD recordings in recent years. At this summer’s BBC Proms, he gave the world premiere with the BBC Symphony Orchestra and Sakari Oramo of compatriot Dieter Ammann’s new concerto, which was specially commissioned for him and which he performs in its U.S. premiere with the BSO (a co-commissioner of the work) this week. In March 2020 he joins Esa-Pekka Salonen and the Philharmonia Orches- tra in a special Beethoven concert at the Royal Festival Hall, playing the Fourth Piano Concerto, Choral Fantasy, and the solo Fantasia in G minor, Opus 77. Other highlights of Mr. Haefliger’s 2019-20 season include music of Beethoven with the Shanghai Sym- phony Orchestra and in recital at the Flagey Piano Festival, as well as Mozart with Ludovic Morlot at the Aspen Festival. He also tours to Japan, culminating in a solo recital at Tokyo’s Bunka Kaikan. Mr. Haefliger records exclusively for BIS Records, which released his latest “Perspectives” CD in spring 2018. His first concerto recording, slated for release in spring 2020, features Bartók’s Piano Concerto No. 3, Ravel’s Piano Concerto for the left hand, and the new Ammann work, all with Susanna Mälkki and the Helsinki Philharmonic Orchestra. Andreas Haefliger made his BSO debut in November/December 1996 as a soloist in Messiaen’s Concert à quatre for flute, oboe, cello, and piano, returning in January/ February 1999 as soloist in Beethoven’s Piano Concerto No. 2, in March 2002 for the world premiere of Michael Colgrass’s BSO-commissioned Crossworlds for flute, piano, and orchestra, and in October 2005 as soloist in Schumann’s Piano Concerto. He has appeared in recital at Tanglewood in 1995 and 2010.
week 6 guest artists 59 WHERE EXCELLENCE LIVES
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CHESTNUT HILL, MASSACHUSETTS NEWTON, MASSACHUSETTS Beautifully updated residence in sought-after neighborhood. Gracious home boasts 8,000+ SF of versatile living space. Outstanding renovation including grand living, entertaining Situated on a 26,000+ SF lot with an in-ground pool & courtyard. spaces, 5+ bedrooms, level backyard, and pool. Ward school neighborhood & easy access to Boston & the Pike. $4,480,000 $4,299,000 Represented by: Deborah M. Gordon, Sales Associate Represented by: Deborah M. Gordon, Sales Associate C. 617.974.0404 C. 617.974.0404
KENNEBUNKPORT, MAINE NEEDHAM, MASSACHUSETTS Build a custom dream home in Cape Arundel with direct water Beautiful riverfront with 200+ ft of frontage, leaded glass access and views, 12 rooms, custom kitchen, large windows, 4 windows, reclaimed English Oak woodwork, solarium, grand bedrooms, chef’s kitchen, covered balcony, patio, and porch. living room, kitchen/breakfast room, & 1st floor master suite. $2,990,000 $2,700,000 Represented by: Christian Steppe & Greg Robert, Broker Sales Associates Represented by: Lisa Petrini Bell, Sales Associate C. 207.286.4721 | G. 207.286.4782 C. 508.479.3344
COLDWELLBANKERLUXURY.COM BEACON HILL-BOSTON, MASSACHUSETTS WESTON, MASSACHUSETTS A magnificent, South facing, 6 bedroom, 1837 Greek Revival Exquisite European estate, set on 2.56 private acres, cathedral post & home on Beacon Hill, with fine period detail and a beautiful beamed family room, chef’s kitchen & game room/bar. First floor mas- double living room with 13 ft. ceiling. ter BR suite. Custom car collectors dream garage, 9 spaces available. $7,975,000 $7,950,000 Represented by: Nancy Tye, Broker Sales Associate Represented by: Kathryn Alphas-Richlen, Sales Associate C. 617.686.7637 C. 781.507.1650
SUDBURY, MASSACHUSETTS NEWTON, MASSACHUSETTS Exquisite 5-bedroom custom estate set on 5+ acres with un- Classical Colonial Revival with superb updates, period details, matched detail, 14 rooms, custom chef’s kitchen, 2-story family sweeping staircase, wood accents, solarium, cook’s kitchen, 7 room with stone fireplace, plus 12+ car garage. bedrooms, including 3rd floor apartment. $4,000,000 $3,300,000 Represented by: Laura Semple & Beth Hettrich, Sales Associates Represented by: Marsha MacLean, Broker Sales Associate L. 978.831.3766 | B. 978.831.2083 C. 617.697.4378
BOSTON, MASSACHUSETTS BOSTON, MASSACHUSETTS Rare Smart Home Condo in desired concierge building! Oversized Renovated corner penthouse featuring floor-to-ceiling windows, living room, renovated chef’s kitchen, three bedrooms. Views of custom built-ins, 2 bedrooms, cook’s kitchen, private terrace, Boston Common and State House. Deeded Garage Parking. panoramic city views, and 24-hour concierge. $2,699,000 $2,020,000 Represented by: Todd Anzlovar & Joe Sullivan, Sales Associates Represented by: Roberta Orlandino, Sales Associate T. 508.264.2104 | J. 617.733.6138 C. 617.312.1511
COLDWELL BANKER RESIDENTIAL BROKERAGE
The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 19KDS9_NE_8/19 The Great Benefactors
In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918, Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.
ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2) 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 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 Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie 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 • Liliana and Hillel Bachrach • Caroline Dwight Bain ‡ • William I. Bernell ‡ • Estate of Philip and Marion Bianchi • 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 • Wilhelmina 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 (12)
week 6 the great benefactors 63 GET LOST.
A service of WGBH
on-air • online • in the app | classicalwcrb.org 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 September 26, 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 • Noubar and Anna Afeyan • 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 • Cynthia and John S. 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 • Mr. Benjamin Altshuler • Lloyd Axelrod, M.D. • Judith and Harry ‡ Barr • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. 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 • Drs. Anna L. and Peter B. Davol • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • Martha and Todd Golub • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Albert A. Holman III and Susan P. Stickells • Dr. and Mrs. Jeffrey M. Leiden • 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)
week 4 the higginson society 65 EXPERIENCE MUSIC IN AN INTIMATE, SEASIDE SETTING. CLASSICAL 2019–20 SEASON SEPT 29 Bomsori Kim, violin OCT 20 Russian String Orchestra NOV 17 Curtis on Tour: Vera Quartet & Meng-Chieh Liu, piano DEC 8 Calmus JAN 19 Soul of the Americas with Michael Brown & Nicholas Canellakis FEB 23 Vienna Piano Trio …and much more!
Also enjoy HD Broadcasts of the Metropolitan Opera, National Theatre of England, and Bolshoi Ballet! Rockport, Massachusetts :: rockportmusic.org :: 978.546.7391
66 patron $12,000 - $24,999 Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson ‡ • Liliana and Hillel Bachrach • Mr. Edward B. Berk and Ms. Naomi Weinberg • 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 • Joanne and Timothy Burke • 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 • Mr. and Mrs. Miguel de Bragança • 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 • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Michelle and Mark Jung • Steve Kidder and Judy Malone • 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. • Kyra and Jean Montagu • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Cecilia O’Keefe • In Memory of John Oliver • 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 • Anne-Marie Soullière and Lindsey C.Y. Kiang • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Gwill E. York and Mr. Paul Maeder • Anonymous (3) sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • Ms. Maureen Alphonse-Charles and Dr. Jean B. Charles • 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 • Fred and Joanne Barber • Mr. and Mrs. Eugene F. Barnes III • Lucille Batal • Jim and Nancy Bildner • Mrs. Linda Cabot Black • 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 • Dr. and Mrs. Levi A. Garraway • Jim and Becky Garrett • Elizabeth T. and Roberto S. Goizueta • Jack Gorman • Marjorie and Nicholas Greville • David and Harriet Griesinger • Robert and Annette Hanson • William Hawes and Mieko Komagata ‡ • Alexander Healy • Mr. and Mrs. Ulf B. Heide • Drs. James and Eleanor Herzog • Mrs. Richard D. Hill • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey •
week 6 list name 67
Mr. ‡ and Mrs. Roger Hunt • 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 • 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 • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • John O’Leary • Peter Palandjian and Eliza Dushku-Palandjian/Intercontinental Real Estate Corporation • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Ms. Pamela L. Peedin and Mr. Paul S. Rebuck • 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 • Rita and Norton Reamer • 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 • Roger A. Saunders • Mrs. Marvin G. Schorr • Carol Searle and Andrew Ley • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Maria and Ray Stata • Sharon and David Steadman • Ann and David Swanson Fund of the Maine Community Foundation • Tazewell Foundation • Magdalena Tosteson • John Travis • Christopher and Alison Viehbacher • Mark and Martha Volpe • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Howard and Karen Wilcox • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • Marillyn Zacharis • Anonymous (5) 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. Lawrence Asquith • Mr. Neil Ayer, Jr. • Mardges Bacon and Charles Wood • 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 • Mrs. Carolyn Boday • Mark G. and Linda Borden • 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 • Ms. Ruth A. Butler • The Cavanagh Family • Mrs. Assunta Cha • Drs. Magdalena and Lucian Chirieac • Mr. and Mrs. Yumin Choi • 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 • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Bob and Happy Doran • Joanne and Jerry Dreher • Mr. David L. Driscoll • Eran and Yukiko Egozy • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey •
week 6 list name 69 HOPE & HARMONY Breast cancer benefit concert with SIR SIMON RATTLE
Join us for an unforgettable evening & a worthy cause! Flutist (& survivor) Julie Scolnik, Mistral’s founder & artistic director, has gathered an all-star orchestra drawn from members of the BSO, Philadelphia Orchestra, Metropolitan Opera Orchestra & others, to raise funds to support underserved women fighting breast cancer. Mozart, Beethoven, Brahms
NEC’S JORDAN HALL SUNDAY, Nov. 17, 7:30 www.M t lM ic.org Tickets: $50/$75/$100
70 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 • Beth and John Gamel • Dozier and Sandy Gardner • Diane Gipson • Alfred and Joan Goldberg • Jordan and Sandy Golding • Eric C. Green • Harriet and George Greenfield • Paula S. Greenman • 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 • Janice Harrington and John Matthews • John and Ellen Harris • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. and Ms. Uni Joo • Carol and Robert Henderson • Anneliese Henderson • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brian Hickox • Joan and Peter Hoffman • Pat and Paul Hogan • Ms. Mary Norato Indeglia • Norman and Irene Jacobs • Ms. Susan L. Johnson and Mr. Robert Wallace • In Memory of Blanche and George Jones • Teresa Kaltz • The Karp Family Foundation • Paul L. King • Mary S. Kingsbery • Mr. John L. Klinck, Jr. • Ms. Marilyn Bone Kloss • Meg and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Alexander Kossey • Barbara N. Kravitz • Mr. and Ms. Tom Kush • Robert A. ‡ and Patricia P. Lawrence • Dr. Gi Soo Lee and Dr. Cynthia Tung • The Leonard Bernstein Office Inc. • Mr. and Mrs. Don LeSieur • Rosemarie and Alexander Levine • Emily Lewis • Mr. and Mrs. Francis V. Lloyd III • Mr. Anthony S. Lucas • Cherry Maddela-Garrido and Paul R. Garrido • 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 • Steven Pittman and Jenifer Handy • 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 • Peggy Reiser and Charles Cooney • Mr. and Mrs. Richard H. Rhoads • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Adrianne E. Rogers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Donald and Abby Rosenfeld • Arnold Roy • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Mr. and Mrs. Ross E. Sherbrooke • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Mr. and Mrs. Nathan Somogie • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • Mrs. Lee T. Sprague • In Honor of Ray and Maria Stata • Jan Steenbrugge • Nancy F. Steinmann • Valerie and John ‡ Stelling • Ms. Anne Stetson • Mrs. Edward A. Stettner • John Stevens and Virginia McIntyre • Fredericka and Howard Stevenson • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Marian ‡ and Dick Thornton • Diana O. Tottenham • Polly J. Townsend • Jack Turner and Tee Taggart • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mrs. Phyllis Vineyard • Michael Walsh and Susan Ruf • Donald and Susan Ware • Matthew and Susan Weatherbie • Norman Weeks • Ellen B. Widmer • Dudley H. Willis and Sally S. Willis • Chip and Jean Wood • The Workman Family • Drs. Richard and Judith Wurtman • Jean Yeager • Xiaohua Zhang • Anonymous (10)
week 6 list name 71 TEREZÍN 1944 • MUSIC • ART • DRAMA Our Will to Live
Mark Ludwig, Director ANDRIS NELSONS | ANNETTE MILLER MEMBERS OF THE BSO
THREE SYMPHONY HALL PREMIERES:
VIKTOR ULLMANN “Cornets Christoph Rilke,” a setting of Rilke’s wartime prose poem. Sets by Daniel Ludwig.
HANS KRÁSA Overture.
ANDRÉ PREVIN Quintet for Horn and String Quartet, a TMF commission.
November 11 • Veteran’s Day TICKETS: tmfgala.org | Tel: 857.222.8263
5 PM Reception • 6 PM Concert Dinner honoring Norman L. Eisen, former U.S. Ambassador to the Czech Republic. Candle-lighting with liberators and survivors.
Tickets are tax-deductible and support TMF concerts, commissions, and Holocaust education programs.
Photo of Andris Nelsons © Marco Borggreve 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 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 Manager of Choruses • Sarah Funke Donovan, Associate Archivist for Digital Assets • Kimberly Ho, Assistant Manager of Choruses • 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 Cardley, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Operations Manager • Nick Squire, Recording Engineer • Christopher Thibdeau, Orchestra Management Office Administrator • Joel Watts, Assistant Audio and Recording Engineer boston pops
Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director, July 4 Fireworks Spectacular • 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 • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant
week 6 administration 73 YOUR TICKET PROTECTS THE BLUE PLANET
Photo: Keith Ellenbogen AVERDI I Tickets $45–$75 D 617-496-2222
BOSTON YOUTH SYMPHONY ONE PERFORMANCE ONLY Federico Cortese, Conductor Sunday, January 26, 2020 • 3pm Edward Berkeley, Stage Director Sanders Theatre A at Harvard University www.BYSOweb.org/aida
74 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 • Kira Svirskiy, Administrative Assistant, 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 • Jill Ng, Director of Planned Giving and Senior Individual Giving Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Senior Individual Giving Officer • Gina Crotty, Individual Giving Officer • Hanna Danziger, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Individual Giving Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, 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 • Kathleen Pendleton, Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Individual Giving Officer • Emily Wivell, Assistant Manager of Planned Giving education and community engagement
Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • Katherine Ludington, Tanglewood Venue Rental Manager • John Stanton, Venue and Events Manager 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 • 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 • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian
week 6 administration 75 The Tudors 2019/20 Season
PACINI BRITTEN MARIA, REGINA GLORIANA D’INGHILTERRA APRIL 11, 2020 NOVEMBER 1+3, 2019 NEC’S JORDAN HALL HUNTINGTON AVENUE THEATRE GERMAN ROSNER MERRIE ENGLAND THE CHRONICLE JUNE 5 + 7, 2020 OF NINE HUNTINGTON AVENUE THEATRE FEBRUARY 1, 2020 NEC’S JORDAN HALL SAVE 15% ROSSINI WITH CODE ELISABETTA, REGINA OO15BSO D’INGHILTERRA MARCH 13+15, 2020 HUNTINGTON AVENUE THEATRE
JOIN THE JOURNEY BY CALLING 617.826.1626 OR VISIT ODYSSEYOPERA.ORG #ODYSSEYOPERA
the symphony is better with friends. make a new one today.
You know how special it is to experience a performance here at Symphony Hall. Make your BSO experience even more enriching—discover how rewarding it is to be a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to share the joys of orchestral music with everyone. As a Friend, you ensure a legacy of spectacular performances and a commitment to education and community engagement.
As a Friend, you’ll also enjoy a variety of exclusive benefits designed to bring you closer to the music. To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute.
76 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 • 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
Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Senior 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 • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales Associate Manager • 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 strategy and governance
Emily Fritz-Endres, Assistant Director of Board Administration • Laura Sancken, Board Engagement Officer tanglewood learning institute
Emilio Gonzalez, TLI Program Manager 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 6 administration 77 GRIEG GOUNOD GERSHWIN
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 Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Susan Price Secretary, Beverly Pieper Co-Chairs, Boston Karen Brown • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Judy Levin Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Lynne Harding boston project leads 2019-20
Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Deborah Slater • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry • Guide’s Guide, Audley H. Fuller and Marcia Smithen Cohen • Instrument Playground, Cassidy Roh • Mailings, Steve Butera • Membership Table/Hall Greeters, Andrew Royer • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Sue O’Neill • Tour Guides, Carol Brown
Lifelong learning is healthy living on the campus of Lasell University
For more information and to schedule a tour, contact us at 617-663-7044 or visit lasellvillage.org
week 6 administration 79 Next Week’s Programs…
“LEIPZIG WEEK IN BOSTON”
Sunday, October 27, 3pm Presented in association with the Celebrity Series of Boston GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS conducting LEONIDAS KAVAKOS, violin GAUTIER CAPUÇON, cello
BRAHMS Double Concerto in A minor for violin and cello, Opus 102 SCHUBERT Symphony in C, D.944, “The Great”
Tuesday, October 29, 8pm GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS conducting GAUTIER CAPUÇON, cello
MAHLER “Blumine” SCHUMANN Cello Concerto in A minor, Opus 129 WAGNER Overture to “The Flying Dutchman” MENDELSSOHN Symphony No. 3 in A minor, Opus 56, “Scottish”
Thursday, October 31, 8pm Friday, November 1, 6pm (Symphony Gala) Saturday, November 2, 8pm ANDRIS NELSONS conducting OLIVIER LATRY, organ BOSTON SYMPHONY ORCHESTRA and GEWANDHAUSORCHESTER LEIPZIG FRANK-MICHAEL ERBEN, violin CHRISTIAN GIGER, cello JOHN FERRILLO, oboe RICHARD SVOBODA, bassoon
STRAUSS “Festive Prelude,” Opus 61, for organ and orchestra HAYDN “Sinfonia concertante” in B-flat for violin, cello, oboe, and bassoon, Hob. I:105 SCHOENBERG “Verklärte Nacht,” Opus 4 (October 31 and November 2 only) SCRIABIN “Poem of Ecstasy,” Symphonic poem, Opus 54
The Boston Symphony Orchestra is very happy to welcome its partner orchestra, the Gewandhaus- orchester Leipzig, to “Leipzig Week in Boston,” an opportunity to celebrate the historic BSO/ GHO Alliance between these two great ensembles. These programs feature music by composers representing a wide variety of Leipzig connections, including works of Brahms, Schubert, Mahler, Schumann, Wagner, Mendelssohn, Strauss, Haydn, Schoenberg, and Scriabin. BSO Music Director Andris Nelsons—who is also Gewandhauskapellmeister of the Gewandhaus Orchestra—conducts all of these concerts, starting with two performed by the visiting Gewandhausorchester Leipzig. The remaining concerts bring the BSO and GHO together to the Symphony Hall stage in this, the third year of this unprecedented alliance of two internationally acclaimed ensembles.
80 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.
“LEIPZIG WEEK IN BOSTON” “LEIPZIG WEEK IN BOSTON” Sunday, October 27, 3-4:50 Thursday ‘D’ October 31, 8-10 (Non-subscription; presented in association Saturday ‘B’ November 2, 8-10 with the Celebrity Series of Boston) BOSTON SYMPHONY ORCHESTRA and GEWANDHAUSORCHESTER LEIPZIG GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor LEONIDAS KAVAKOS, violin OLIVIER LATRY, organ GAUTIER CAPUÇON, cello FRANK-MICHAEL ERBEN, violin BRAHMS Double Concerto for violin CHRISTIAN GIGER, cello and cello JOHN FERRILLO, oboe SCHUBERT Symphony in C, The Great RICHARD SVOBODA, bassoon STRAUSS Festive Prelude, for organ and orchestra “LEIPZIG WEEK IN BOSTON” HAYDN Sinfonia concertante in B-flat for Tuesday ‘B’ October 29, 8-9:55 violin, cello, oboe, and bassoon GEWANDHAUSORCHESTER LEIPZIG SCHOENBERG Verklärte Nacht ANDRIS NELSONS, conductor SCRIABIN Poem of Ecstasy GAUTIER CAPUÇON, cello
MAHLER Blumine “LEIPZIG WEEK IN BOSTON” SCHUMANN Cello Concerto Friday, November 1 (Symphony Gala), 6-7:10 WAGNER Overture to The Flying Dutchman BOSTON SYMPHONY ORCHESTRA and MENDELSSOHN Symphony No. 3, Scottish GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS, conductor OLIVIER LATRY, organ JOHN FERRILLO, oboe RICHARD SVOBODA, bassoon FRANK-MICHAEL ERBEN, violin CHRISTIAN GIGER, cello STRAUSS Festive Prelude, for organ and orchestra HAYDN Sinfonia concertante in B-flat for oboe, bassoon, violin, and cello Programs and artists subject to change. SCRIABIN Poem of Ecstasy
The BSO’s 2019-20 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National 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 6 coming concerts 81 Symphony Hall Exit Plan
82 Symphony Hall Information
The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation 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 Events 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 p.m. on Saturday). Outside the 617 area code, phone (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 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 the Group Sales Office at (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 avail- able 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 pro- gram pieces in order not to disturb other patrons. Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscrip- tion ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the
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 6 symphony hall information 83 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 Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, 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 infor- mation, 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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