2012–2013 season | Week 8 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 8

7 bso news 13 on display in symphony hall 14 in memoriam: elliott carter 16 the boston symphony orchestra 18 five new bso musicians 20 this week’s program

Notes on the Program

22 The Program in Brief… 23 Sibelius “” 31 Thomas Adès 41 49 Sibelius Symphony No. 6 57 To Read and Hear More…

Guest Artists

60 Thomas Adès 61 Dawn Upshaw 63 Kirill Gerstein

66 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on november 16 is given by bso assistant director of program publications robert kirzinger.

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO associate concertmaster Tamara Smirnova by Stu Rosner

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

week 8 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 8 trustees and overseers 5

BSO News

The BSO on the Web At BSO.org/MediaCenter, patrons can find a centralized location for access to all of the Boston Symphony Orchestra’s media offerings. The free and paid media options include radio broadcast concert streams, audio concert previews, interviews with BSO musicians and guest artists, excerpts from upcoming programs, and self-produced recordings by the BSO, Boston Pops, Boston Symphony Chamber Players, Tanglewood Festival Chorus, and Tanglewood Music Center Fellows. In addition, there are complete program notes available for download, printing, or saving to an e-reader. The BSO kids website offers educational games and resources designed to be fun and help teach various aspects of music theory and musical concepts. The BSO is also on Facebook (facebook.com/bostonsymphony) and Twitter, and you can watch video content at youtube.com/boston symphony. New this fall is a BSO mobile site, which allows patrons to access performance schedules; download program notes; listen to concert previews, music clips, and concert broadcast streams; and view video podcasts.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for October and November are Marc Mandel (October 5 and 12; November 30), Robert Kirzinger (October 19; November 2 and 16), Harlow Robinson of Northeastern University (November 9), and Jan Swafford of The Boston Conservatory (November 23).

Boston Symphony Chamber Players This Sunday, November 18, at 3 p.m. at Jordan Hall The first Boston Symphony Chamber Players concert of the season takes place this Sunday afternoon at 3 p.m. at Jordan Hall at the New England Conservatory. The program opens with Beethoven’s own arrangement for four-hands of his Grosse Fuge, to be performed by Thomas Adès and Kirill Gerstein, then continues with Elliott Carter’s Figment III for , Carter’s Wind Quintet, and Brahms’s Piano Quintet in F minor, Opus 34, also with

week 8 bso news 7

Mr. Gerstein. Single tickets, available at the Symphony Hall box office or online at bso.org, are $38, $29, and $22. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street. The Boston Symphony Chamber Players’ four-con- cert Jordan Hall series continues on January 13 (music of Lutosławski, Frank, and Copland), March 10 (Dvoˇrák, Schulhoff, and Mozart), and April 28 (Janáˇcek, Martin˚u, and Brahms).

Upcoming BSO 101 Sessions BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. The next session of BSO 101—a discussion with the BSO’s Department of Education and Community Engagement—is scheduled for Tuesday, November 20. Though admission is free, we do ask that you e-mail customerser- [email protected] or call (617) 638-9454 to reserve your place for the date or dates you’re planning to attend. Complete information about upcoming BSO 101 sessions can be found at bso.org, under the “Education & Community” tab on the BSO’s home page. individual tickets are on sale for all concerts in the bso’s 2012-2013 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.

Elfers Endowed Guest Artist Great Benefactors, they are members of the Appearance, Saturday, Higginson Society at the Encore level, have November 17, 2012 endowed several seats in the first balcony of Symphony Hall, and have attended Opening Dawn Upshaw’s appearance on Saturday Night at Symphony and Opening Night at evening is supported by a generous gift from Pops as Benefactors for the past several years. BSO Trustee William Elfers and his wife Deborah Bennett Elfers. The Boston Symphony Deborah’s efforts on the BSO’s behalf include Orchestra gratefully acknowledges Bill and directing the Business Leadership Associa- Deborah for their continuing and devoted tion’s fundraising efforts as a member of the support. BSO staff from 1992 to 1995. As a BSO volun- teer, she has served on the Annual Giving Bill and Deborah are longtime subscribers Committee, chaired the Annual Fund’s Higgin- and supporters of the BSO and have attended son Society dinner, hosted Higginson Society concerts together for more than twenty years. events, and, with other key volunteers, collab- Bill was elected to the BSO Board of Overseers orated with the Boston Symphony Association in 1996 and the Board of Trustees in 2002. of Volunteers to involve people in the BSO’s During his tenure with the Symphony, he has artistic, educational, and community out- served as a member of the Budget, Invest- reach programs. Deborah is a graduate of ment, and Leadership Gifts committees. New England Conservatory of Music, where Bill and Deborah continue to support the BSO she studied voice; she now serves on the generously in many ways. In addition to being Conservatory’s Board of Trustees.

week 8 bso news 9 BSO Business Partner of the Month Friday-afternoon Boston Symphony concerts, why not consider taking the bus from your Did you know that there are more than 400 community directly to Symphony Hall? The businesses and corporations that support the Boston Symphony Orchestra is pleased to Boston Symphony Orchestra, Inc.? You can continue offering round-trip bus service on lend your support to the BSO by supporting Friday afternoons at cost from the following the companies who support us. Each month, communities: Beverly, Canton, Cape Cod, we will spotlight one of our corporate sup- Concord, Framingham, Marblehead/Swamp- porters as the BSO Business Partner of the scott, Wellesley, Weston, the South Shore, Month. This month’s partner is Natixis Global and Worcester in Massachusetts; Nashua, Asset Management. Natixis Global Asset New Hampshire; and Rhode Island. Taking Management, S.A., manages $711 billion on advantage of your area’s bus service not only behalf of clients around the world, placing it helps keep this convenient service operating, among the fifteen largest asset-management but also provides opportunities to spend companies. Its Durable Portfolio Construction time with your Symphony friends, meet new model helps clients navigate the investment people, and conserve energy. If you would challenges posed by the fast-changing and like further information about bus transporta- unpredictable global economy. Natixis Global tion to Friday-afternoon Boston Symphony Asset Management calls its approach Better concerts, please call the Subscription Office Thinking. Together®. Natixis Global Asset at (617) 266-7575. Management is headquartered in Boston and a unit of Paris-based Group BPCE. Its twenty global affiliates include Loomis Sayles and Go Behind the Scenes: AEW Capital Management locally. For more Symphony Hall Tours information about becoming a BSO Business Get a rare opportunity to go behind the Partner, contact Rich Mahoney, Director of scenes at Symphony Hall with a free, guided BSO Business Partners, at (617) 638-9277 tour, offered by the Boston Symphony Associ- or at [email protected]. ation of Volunteers. Throughout the Symphony season, experienced volunteer guides discuss Friday-afternoon Bus Service to the history and traditions of the BSO and its Symphony Hall world-famous home, historic Symphony Hall, as they lead participants through public and If you’re tired of fighting traffic and search- selected “behind-the-scenes” areas of the ing for a parking space when you come to building. Free walk-up tours lasting approxi-

10 mately one hour take place this fall at 2 p.m. to order tickets, call (617) 527-9717 or visit on five Saturdays (October 6, 13; November newphil.org. 3, 17; December 1) and at 4 p.m. on eight The Concord Chamber Music Society, found- Wednesdays (October 3, 10, 17, 24, 31; ed by BSO violinist Wendy Putnam, presents November 7, 14, 28). For more information, the St. Lawrence String Quartet on Sunday, visit bso.org/tours. All tours begin in the November 25, at 3 p.m. at the Concord Massachusetts Avenue lobby of Symphony Academy Performing Arts Center, 166 Main Hall. Special private tours for groups of ten Street in Concord, for a program including guests or more—free for Boston-area elemen- Haydn’s String Quartet in D minor, Opus 76, tary schools, high schools, and youth/educa- No. 2; Golijov’s Kohelet (2011), and Beetho- tion community groups—can be scheduled ven’s String Quartet in F, Razumovsky, Opus 59, in advance (the BSO’s schedule permitting). No. 1. Tickets are $42 and $33, discounted for Make your individual or group tour reservations seniors and students. For more information, today by visiting bso.org/tours, by contacting visit www.concordchambermusic.org or call the BSAV office at (617) 638-9390, or by (978) 371-9667. e-mailing [email protected].

Those Electronic Devices... BSO Members in Concert As the presence of smartphones, tablets, Founded by BSO cellist Jonathan Miller, the and other electronic devices used for com- Boston Artists Ensemble performs Boccherini’s munication and note-taking has continued to Quintet in C, G.349, Dvoˇrák’s String Sextet in increase, there has also been an increase in A, Opus 48, and Brahms’s String Sextet No. 2 expressions of concern from concertgoers in G, Opus 36, on Friday, November 16, at 8 and musicians who find themselves distracted p.m. at the Peabody Essex Museum in Salem, not only by the illuminated screens on these and on Sunday, November 18, at 2:30 p.m. devices, but also by the physical movements at Trinity Church in Newton Centre. Joining that accompany their use. For these reasons, Mr. Miller are violinists Yura Lee and Irina and as a courtesy to those on stage as well Muresanu, violists Roger Tapping and Lila as those around you, we respectfully request Brown, and BSO cellist Blaise Déjardin. that all such electronic devices be turned off Tickets are $27, with discounts for seniors and kept from view while the BSO’s perform- and students. For more information, visit ances are in progress. Thank you very much bostonartistsensemble.org or call (617) for your cooperation. 964-6553. Ronald Knudsen leads the New in their first “Classics” concerts of Comings and Goings... the season on Saturday, November 17, at 8 p.m. Please note that latecomers will be seated and Sunday, November 18, at 3 p.m. at the by the patron service staff during the first First Baptist Church, 848 Beacon Street, convenient pause in the program. In addition, Newton Centre. The program, entitled “Duo please also note that patrons who leave the of Threes,” includes Rachmaninoff’s Piano hall during the performance will not be Concerto No. 3 with soloist Abel Sanchez allowed to reenter until the next convenient Aguilera, first prize-winner of the 2011 Boston pause in the program, so as not to disturb the International Piano Competition, and Schu- performers or other audience members while mann’s Symphony No. 3, “Rhenish.” Tickets the concert is in progress. We thank you for are $35-45, with discounts for seniors, stu- your cooperation in this matter. dents, and families. For more information, or

week 8 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s section, featuring a recent gift to the BSO Archives of two owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of , the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 8 on display 13 ihe .Lutch J. Michael

IN MEMORIAM Elliott Cook Carter, Jr. (December 11, 1908–November 5, 2012)

The Boston Symphony Orchestra is deeply saddened by the death of American composer Elliott Carter. The BSO and its staff extend deepest sympathies to his family, friends, and admirers the world over.

Elliott Carter commanded universal respect as one of the great artists of our era. Deeply interested in modern cultural life, he was very well-read, spoke and read several languages, and took a strong interest in arts of many epochs. He maintained friendships with artists, writers, and musicians of several generations. Aaron Copland was an early advocate; Igor Stravinsky called his for piano, harpsichord, and two chamber orchestras a masterpiece, and his music has been championed by the Juilliard String Quartet, Pierre Boulez, Charles Rosen, Oliver Knussen, Ursula Oppens, James Levine, Daniel Barenboim, Pierre-Laurent Aimard, Fred Sherry, and many others. He was twice awarded the Pulitzer Prize in Music (for his Second and Third string quartets), was awarded the Ernst von Siemens Music Prize, and received the National Medal of Arts. This year the French gov- ernment named him a Commandeur de la Légion d’honneur.

Carter’s relationship with the Boston Symphony Orchestra spanned nearly ninety years. Growing up in , as a teenager he was fascinated by new currents in the arts, particularly music, and befriended the much older Charles Ives, with whom he often attended concerts. Carter later said that it was a Boston Symphony performance he attended with Ives of Stravinsky’s Rite of Spring at Carnegie Hall that convinced him to pursue music as a career. The presence of the BSO and its adventurous music director, Serge Koussevitzky, in Boston was one of the factors in Carter’s choice to attend Harvard University.

The Boston Symphony first played Elliott Carter’s music—his Variations for Orchestra— in 1964. The orchestra, with soloist Jacob Lateiner, gave the premiere of his

Outside Seiji Ozawa Hall at Tanglewood in 2007

14 in 1967 under Erich Leinsdorf, and released the first recording of the piece. A member of the Tanglewood Music Center faculty many times over the years, Carter enjoyed an especially rich relationship with the BSO in the past decade, beginning with the orchestra’s commission of his Boston Concerto, premiered in 2003. During James Levine’s tenure as music director, the BSO commissioned Carter’s orchestral miniature Micomicón, later iayScott Hilary part of the triptych Three Illusions, and his Horn Concerto (pre- miered by BSO principal James Sommerville in 2007); and co-commissioned his Flute Concerto (American premiere by BSO principal Elizabeth Rowe in 2010), Mosaic for harp and ensemble (American premiere by BSO principal Ann Hobson Pilot in 2008), and Interventions for piano and orchestra. The latter, commissioned to celebrate the composer’s centennial, was premiered by the BSO under James Levine with pianist Daniel Barenboim at Symphony Hall, and was repeated in a special concert at Carnegie Hall on December 11, 2008, the composer’s 100th birthday.

Also in 2008, at James Levine’s instigation, the Tanglewood Music Center celebrated Carter’s centenary with a five-day Festival of Contemporary Music entirely dedicated to his During his 100th-birthday celebrations work in what was likely the most comprehensive such celebra- at Tanglewood in 2008 tion in the world. The Tanglewood Music Center also commis- sioned and presented the premieres of numerous works by Carter, including his string orchestra piece Sound Fields and the vocal ensemble piece Mad Regales in 2008. The TMC also gave the American stage premiere of his opera What Next? in 2006 under James Levine’s direction, subsequently released on DVD. In August 2013 during the

Festival of Contemporary Music, the TMC Lutch J. Michael will present a work co-commissioned with the Seattle Symphony Orchestra, Instances, in its East Coast premiere.

Sempre bravissimo, Mr. Carter.

With James Levine following the premiere in Symphony Hall of the Horn Concerto in November 2007

week 8 in memoriam 15 Boston Symphony Orchestra 2012–2013

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

bernard haitink seiji ozawa music director thomas wilkins LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

week 8 boston symphony orchestra 17 t Rosner Stu

Five New BSO Musicians

Five new members have joined the Boston Symphony Orchestra this season: (from left) Matthew McKay, percussion; Wesley Collins, ; Kyle Brightwell, percussion; James Markey, bass trombone, and Michael Winter, horn.

Violist WESLEY COLLINS received his bachelor of music degree from the Cleveland Institute of Music, where he studied with Robert Vernon. An alumnus of the Tanglewood Music Center, he was a member of the Atlanta Symphony Orchestra before coming to the BSO. Originally from Cincinnati, he began studying with his mother at four; also played trumpet, which he studied with his father Philip Collins, former principal trumpet of the Cincinnati Symphony; and later switched to viola under the guidance of Michael Klotz, violist of the Amernet String Quartet. An active chamber musician, he was a founding member of the Vesuvius String Quartet

As the BSO’s new third horn, MICHAELWINTER occupies the Elizabeth B. Storer Chair. Before joining the BSO, he was acting principal horn of the Buffalo Philharmonic and princi- pal horn of the Syracuse Symphony Orchestra. Born and raised in Southern California, he began his horn studies with his grandfather, Dr. James Winter, later studying with Jim Thatcher and John Mason, and at the New England Conservatory of Music with the BSO’s Richard Sebring and Richard Mackey. He has previously performed regularly in New England with the BSO, the Boston Pops, the Boston Ballet Orchestra, the Boston Philharmonic, and the Rhode Island Philharmonic.

New BSO bass trombonist JAMES MARKEY occupies the John Moors Cabot Chair, having previously held positions with the and the Pittsburgh Symphony. As an educator, he has been a featured artist at the International Trombone Festival, the Eastern Trombone Workshop, and the conferences of the New Jersey Music Educators

18 Association and the New York State School Music Association. Mr. Markey studied with Joseph Alessi at the Juilliard School, where he received his bachelor and master of music degrees in 2005 and 2006, respectively. Solo work includes appearances with the Pittsburgh Symphony and Sun Valley Summer Symphony, the United States Army Band, the Hora Decima Brass Ensemble, New York Staff Band of the Salvation Army, and the Hanover Wind Symphony.

Percussionist KYLE BRIGHTWELL occupies the BSO’s Peter Andrew Lurie Chair. He began studying piano and guitar at four before moving to percussion at age eleven. An alumnus of the Tanglewood Music Center and the Boston University Tanglewood Institute, he is a graduate of the Juilliard School, where he studied with New York Philharmonic percussion- ist Daniel Druckman, and received his master’s degree from Boston University, where he studied with BSO timpanist Timothy Genis. While in New York, he was a faculty member of Juilliard’s Music Advancement Program for underprivileged inner-city youth, and was also appointed a Fellow of the Gluck Community Service Fellowship (GCSF), for which he per- formed concerts in homeless shelters, psychiatric wards, AIDS centers, and other venues similarly in need of music.

Also an alumnus of the Tanglewood Music Center, MATTHEW MCKAY played percussion for the Oregon Symphony before joining the BSO. Originally from Fairfax, Virginia, he began violin at age four, piano at seven, and percussion at ten. He earned his bachelor’s degree from the New England Conservatory, where he studied with the BSO’s J. William Hudgins, and completed his master’s degree at Boston University, where he studied with BSO tim- panist Timothy Genis. Other summer engagements have included fellowships at the Spoleto Music Festival, Schleswig-Holstein Music Festival, and National Orchestral Institute. He has also been a member of the Third Angle new music ensemble in Portland, Oregon.

week 8 five new bso musicians 19 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, November 15, 8pm Friday, November 16, 1:30pm Saturday, November 17, 8pm

thomas ad`es

sibelius “luonnotar,” tone poem, opus 70, for soprano and orchestra dawn upshaw Text and translation begin on page 28.

ad`es “,” for piano and orchestra 1. Chaos—Dark—Light 2. Separation of the waters into sea and sky 3. Land—Grass—Trees 4. Stars—Sun—Moon Fugue 5. Creatures of the Sea and Sky— 6. Creatures of the Land 7. Contemplation kirill gerstein

{intermission}

The evening concerts will end about 10:10, the Friday concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons , selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.

20 prokofiev piano concerto no. 1 in d-flat, opus 10 (in one movement) mr. gerstein sibelius symphony no. 6, opus 104 Allegro molto moderato Allegretto moderato Poco vivace Allegro molto

thursday evening’s appearance by dawn upshaw is supported by the alan j. and suzanne w. dworsky fund for voice and chorus. saturday evening’s appearance by dawn upshaw is supported by the elfers fund for performing artists, established in honor of deborah bennett elfers. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 8 program 21 The Program in Brief...

English composer-conductor Thomas Adès, who made his BSO conducting debut in spring 2011, wrote In Seven Days in 2008 on commission from the South Bank Centre and the . Each of its seven large sections corresponds to one of the seven days of the creation myth from Genesis. The concerto works like a passacaglia, as a set of variations on a harmonic progression, with each movement strongly character- ized by the stimuli of the story—chaos, the creation of light and darkness, the creation of the stars, of flora and fauna. The piece is brilliantly orchestrated and features the piano in a traditionally concerto-like relationship with the orchestra.

Serge Prokofiev was still a student when he wrote his Piano Concerto No. 1, which he completed in 1912. Upon its premiere, its percussive use of the piano and brash personality gave the composer a foothold as an up-and-coming enfant terrible in Russian music. It was also clear that he was a pianist to be reckoned with. His style as both a pianist and composer ran directly counter to what he considered the sentimental, overly romantic expression of the previous generation and aligned him with the modernists. The Concerto No. 1 is a relatively brief piece (about fifteen minutes) in a single, multi-sectional move- ment in which we can already hear the strong musical personality—by turns majestic, sarcastic, and lyrical—that would characterize Prokofiev’s compositional voice through- out his life.

Linked in its creation-myth subject matter to Adès’s In Seven Days, ’s Luonnotar for soprano and orchestra is one of many Sibelius works based on the Finnish national epic Kalevala. The text of Luonnotar describes the title goddess’s descent from the air into the sea. A teal alights on Luonnotar’s knee to make a nest; its eggs fall into the sea and break, and from them are created the heavens. Sibelius’s nine-minute piece follows the contours of the story: it begins in suspended time, with a faster middle section describing the teal’s search for a nesting place, and a slow concluding passage depicting the creation of the heavens. Sibelius wrote Luonnotar for the Finnish soprano Aino Ackté, who gave its first performance in September 1913 at the Gloucester Festival in England.

Sibelius seems to have conceived his Sixth and Seventh symphonies around the same time, while working on a major revision to his Fifth Symphony in about 1918. He completed the Sixth only in 1923, leading the premiere in in February of that year. Although his single-movement Seventh (1924) is more clearly a departure from traditional sym- phonic form, the Sixth—despite its four movements—is nearly as radical. Although there is no explicit extramusical idea, its form emerges from the composer’s conception of the symphonic poem, with a musical narrative that reflects the organic processes and states of the natural world.

Robert Kirzinger

22 Jean Sibelius “Luonnotar,” Tone poem, Opus 70, for soprano and orchestra

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Hämeenlinna (Tavestehus in Swedish), Finland, on December 8, 1865, and died at Järvenpää, near Helsingfors (Helsinki), on September 20, 1957. He composed “Luonnotar” between mid-July and mid-August 1913 for the soprano Aino Ackté, who sang the first performance on September 10 that year at the Gloucester Festival in England, as detailed below.

IN ADDITION TO THE SOPRANO SOLOIST, the score of “Luonnotar” calls for an orchestra of two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones, timpani (two players), two harps, and strings.

Sibelius took inspiration for his music from several sources, among them nature in gener- al and the elemental landscape of his native Finland (about which, see the program note on his Symphony No. 6 beginning on page 49 of this program book). Another important source of inspiration was the Kalevala, the so-called “Finnish national epic” that enshrines his country’s lore and mythology.

The Kalevala is a conflation of Finnish folk tales, lyrics, narrative, and magic charms that was actually compiled in 1835 after extensive field research by Elias Lönnrot and then expanded to twice its original length fourteen years later by Lönnrot and David Europaeus. It served Sibelius well on numerous occasions. It was with the premiere in Helsinki on April 28, 1892, of his for soloists, male chorus, and orchestra—a seventy-five- minute “symphonic poem” based on the exploits of Kullervo, one of the Kalevala’s four main heroes—that the twenty-six-year-old composer secured his reputation in his native land. His Four Legends from the “Kalevala” (composed 1893-96, including most famously The Swan of Tuonela), a set of four symphonic poems for orchestra alone, were inspired by the exploits of another Kalevala hero, Lemminkäinen, as was the “symphonic fantasia” for orchestra, Pohjola’s Daughter (1906). (The Kalevala’s other two main heroes are Väinämöinen, of whom more below, and Ilmarinen.)

week 8 program notes 23 Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

24 Unlike these other works, Luonnotar, Sibelius’s extraordinary tone poem for orchestra and soprano, is based not on heroic exploits, but on the creation myth as recounted in the Kalevala’s first canto. Sibelius wrote this work for the Finnish soprano Aino Ackté (1876- 1944), who sang at the Met, the Paris Opera, and Covent Garden (and who, incidentally, between 1912 and 1916, was the first to oversee the staging of operas at what is now the site of the modern Savonlinna Opera Festival some 200 miles from Helsinki). In 1911, Sibelius canceled a planned concert tour in Germany with the soprano; for that tour he had promised to write, at her urging, a new orchestral song based on Edgar Allan Poe’s The Raven, which he was to have conducted along with other works of his own. (Some of the music conceived for that unfinished project ended up in his Fourth Symphony, work on which was one reason he ultimately canceled the tour—another being his pique at the soprano’s promotional campaign for the tour, which he viewed as too self-centered on her part.) As a result, in 1913, when Ackté requested from him a new work for soprano and orchestra that she could pair on programs with the final scene from Strauss’s Salome, he effectively “owed” her. He began sketching Luonnotar in mid-July and by mid-August sent her a score; she declared the new work “brilliant and magnificent” but also “madly difficult” given the intricacies of the vocal writing (“my otherwise sure sense of pitch may fail me”). Though it was an engagement for concerts that fall in Manchester that had prompted her to request the new work, it was at the Gloucester Festival on September 10, 1913, that she sang the premiere.

Sibelius’s version of the creation myth as he has excerpted and condensed it for Luonnotar from the Kalevala is elliptical at best; so one needs first to know the basics of the

week 8 program notes 25

The Finnish soprano Aino Ackté (1876-1944), for whom Sibelius composed “Luonnotar”

story. Luonnotar, “Daughter of the Heavens” (also known as Ilmatar, “Spirit of the Air”), comes down to the sea, where she becomes “Mother of the Water.” A bird variously described in different English translations as a gull, teal, or goldeneye alights and nests on Luonnotar’s knee as she drifts upon the waters. Ultimately the bird’s eggs roll from the nest and break into pieces, from which are formed the earth, heavens, sun, moon, and clouds. Luonnotar next creates a variety of geographic formations (bays, shores, shoals, and the like), and then, after a gestation period of thirty years, gives birth to Väinämöinen (who, having lost patience during this extended process, finally forces him- self from his mother’s womb). Väinämöinen is the hero whose adventures then take up the first main portion of the Kalevala.

In less than ten minutes of visionary music, Sibelius’s Luonnotar encompasses the creation of a world. Through his skillful manipulation of general tension level, harmonic dissonance,

week 8 program notes 27 and instrumentation, the composer is able unfailingly to suggest the primeval, mysteri- ous atmosphere of a world yet unformed. As his version of the story begins, Luonnotar— “Air’s young daughter, a virgin”—descends upon the waters from “those far-extending deserts of the air”; she drifts, frustratingly, for centuries, then swims “in all directions.” The soprano soloist relates this in two brief, bardic, narrative-style stanzas over the sparest possible—yet uniquely colorful—accompaniment from the orchestra. Harp and timpani herald “a sudden mighty tempest”; the vocal line extends upward. Now Luonnotar’s “wretched fortune” and frustration at leaving air’s realm are conveyed through repetitions of a slow-moving sigh-motif on which her text-syllables are stretched. Next the orchestra— beginning with the rustling string music that opened the piece—anticipates the arrival of the teal (descending woodwind flutters reflect the bird’s flight and descent). Three extend- ed “No!”s (“Ei! Ei! Ei!”) capture the bird’s concern over choosing a safe nesting place. Here again we get that haunting sigh-motif. The third “No!,” pianissimo in the soprano’s highest register, provides one of the most extraordinarily evocative echo-effects to be found in music: one can’t help but sense the enormity of the universe. The teal’s contin- ued expressions of concern carry this central section of the piece to its climax.

As we learn through music that once more turns spare, archetypal, and bardic, the bird finds protection from the billows and winds by nesting on Luonnotar’s knee, which the Mother of the Water has lifted above the water’s surface. A burning sensation causes Luonnotar’s limbs to shake convulsively. The eggs fall into the water and break. From the upper fragment of one egg rise the heavens and moon. From “all that in the egg was mottled” come the stars of heaven. Alternating, dissonance-tinged harp chords heard against repeated timpani rolls and sustained strings provide an atmosphere of primeval mystery. The stars appear. Dark becomes light.

Marc Mandel

marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THEBOSTONSYMPHONYORCHESTRA has played just one previous performance of Sibelius’s “Luonnotar,” on August 10, 2002, at Tanglewood with soloist under the direction of Osmo Vänskä.

JEAN SIBELIUS “Luonnotar,” Opus 70, for soprano and orchestra (English version after W.F. Kirby’s translation of the Kalevala)

Olipa impi ilman tyttö, Air’s young daughter was a virgin, kave Luonnotar korea, Fairest daughter of creation. ouostoi elämätään, Long did she abide a virgin, aina yksin ollessansa, Dwelling ever more so lonely avaroilla autioilla. In those far-extending deserts.

28 Laskeusi lainehille, After this the maid descending aalto impeä ajeli, Sank upon the tossing billows, vuotta seitsemänsataa Seven long centuries together. vieri impi veen emona, Then she swam, the Water-Mother uipi luotehet, Southward swam and swam to northwest, etelät, uipi kaikki ilman rannat. Swam around in all directions. Tuli suuri tuulenpuuska, Then a sudden mighty tempest meren kuohuille kohotti. Drove the billows of the waters. “Voi poloinen päiviäni! “Oh how wretched is my fortune Parempi olisi ollut Better were it I had tarried ilman impenä elää. Virgin in the airy regions, Oi Ukko ylijumala! Ukko, thou of Gods the highest Käy tänne kutsuttaissa!” Hasten here for thou art needed.” Tuli sotka suora lintu, Then a beauteous teal came flying lenti kaikki ilman rannat, Flew round in all directions, lenti luotehet, etelät; Southward flew and flew to northwest, ei löyä pesän sioa. Searching for a spot to rest in. “Ei! Ei! Ei! “No! No! No! Teenkö tuulehen tupani, Should I make the wind my dwelling, aalloillen asuinsiani, Should I rest it on the billows, tuuli kaatavi, tuuli kaatavi, Then the winds will overturn it, aalto viepi asuin sijani!” Or the waves will sweep it from me.” Niin silloin veen emonen Then the Mother of the Waters nosti polvea lainehasta, From the waves her knee uplifted; siihen sorsa laativi pesänsä; Gentle there the teal alighting alkoi hautoa. So she might her nest establish. Impi tuntevi tulistuvaksi. Then the maiden felt a burning Järskytti jäsenehensä. And her limbs’ convulsive shaking, Pesä vierähti vetehen. Rolled the eggs into the water, Katkieli kappaleiksi. And to splinters they were broken, Muuttuivat munat kaunoisiksi. And to fragments they were shattered. Munasen yläinen puoli From the cracked egg’s upper fragment yläuseksi taivahaksi, Rose the lofty arch of heaven, yläpuoli valkeaista, From the white the upper fragment kuuksi kumottamahan, Rose the moon that shines so brightly; mi kirjavaista, tähiksi taivaalle; All that in the egg was mottled ne tähiksi taivaalle. Now became the stars in heaven.

week 8 text and translation 29

Thomas Adès “In Seven Days,” for piano and orchestra (2008)

THOMAS JOSEPH EDMUND ADÈS was born on March 1, 1971, in London, and lives there. Thomas Adès and video artist collaboratively created “In Seven Days, for piano and orchestra with moving image” on commission from the South Bank Centre (London) and the Los Angeles Philharmonic. Adès conducted the London Sinfonietta and Nicolas Hodges was piano soloist in the world premiere, which took place at the Royal Festival Hall, London, on April 28, 2008. The American premiere, again with Adès and Hodges, was given by the Los Angeles Phil- harmonic New Music Group at Walt Disney Concert Hall in Los Angeles on May 27, 2008. These are the first performances by the Boston Symphony Orchestra.

THE SCORE OF “IN SEVEN DAYS” calls for solo piano with an orchestra of three flutes (second doubling piccolo and alto flute, third doubling piccolo), three oboes, three clarinets, three bas- soons (third doubling contrabassoon), four horns, three trumpets, two trombones and bass trom- bone, tuba, timpani, percussion (four players: vibraphone, glockenspiel, crotales, tubular bells, hand bells, cymbals, suspended cymbals, triangle, claves, bongos, cabaca [shaker], three hanging bells or bell plates, three large , tam-tam, roto-toms, snare drum, bass drum), and strings. The piece is twenty-nine minutes long.

The Biblical creation myth is a paradox, a poetic, metaphorical narrative that may well have represented, millennia ago, scientific consensus based on the best then-available empirical data and metaphysical contemplation. The story’s arc describes formlessness becoming form, each day bringing with it a shift of perspective to refocus and zoom in on the details of humankind’s place in the universe. Each chapter of the narrative, then, takes on a form echoed not only one section to the next but also in the overarching story. Dichotomies abound: heaven and earth, light and darkness, water and land, day and night, the sun and the moon, flora and fauna, man and animal, male and female.

Thomas Adès’s In Seven Days “for piano and orchestra with moving image” is a paradox, too, a modern piece conceived in the traditionally “abstract” genre of the piano concerto, apparently using the archaic form of a passacaglia, but deriving its animation from the

week 8 program notes 31

structural and poetic details of the creation myth from Genesis. Further, it was conceived from the start as a work combining the music with video created by the Israeli artist Tal Rosner.* (In this week’s performances, as has often been the practice since the first per- formances, the video element will not be presented.) Although so far unique in Adès’s catalogue, In Seven Days represents neither a big departure from a staid career trajectory nor a snapshot of more prevalent multimedia experimentalism. His choice of the creation myth is very much in keeping with the “subject matter” of many of his other compositions; far from being arbitrary, its structure suggested rich correspondences to his approach to musical material and its transformation.

Adès’s works are, without exception, based on what’s usually called an extramusical idea, but “extramusical” is misleading, since for a composer any idea can be musical. This is not to say that Adès writes program music in the Sinfonia domestica sense (although in his early years he was compared to Strauss), but rather uses the medium of music to explore ideas, themes, places, and characters. This is most explicit in his largest and most prominent pieces to date, the Shakespeare-based opera , commis- sioned by the Royal Opera, Covent Garden, and premiered there in 2004, and the cham- ber opera (1995). (He is in the midst of writing a third, a work for the Festival based on the filmmaker Luis Buñuel’s The Exterminating Angel.) Just as in In Seven Days, though, character, narrative, place, and the relationships among them are part and parcel of the larger conception that is the musical work.

Adès’s musical life has several interconnected levels. He is not only a composer and con- ductor but also an accomplished pianist—both in his own work and that of earlier com-

* The video primarily employs imagery of the two music venues that sponsored its premiere, Royal Festival Hall in London and Walt Disney Concert Hall in Los Angeles, that imagery ranging from organic (rising steam or smoke, a body of water) to more straightforwardly geometric/architectural, and including geometrical framings or arrangements of the images as well as other transformations.

week 8 program notes 33

t Rosner Stu

Composer-conductor Thomas Adès (right) with violinist Anthony Marwood and the BSO in March 2011 at Symphony Hall, following their performance of Adès’s , “Concentric Paths”

posers including Chopin and Janáˇcek—and an administrator. He served as director of the Aldeburgh Festival for a decade, taking up that position before he turned thirty. He maintains fruitful relationships with the Los Angeles Philharmonic and the New York Philharmonic, and this fall makes his conducting debut at the Metropolitan Opera, lead- ing a series of performances of his own opera The Tempest in a new production by Robert Lepage. As a measure of his activity, on Saturday, November 17, he conducts a matinee of the opera in New York before traveling back to Boston to conduct the BSO’s evening concert at Symphony Hall. It is as a composer that he has been most recognized; among other honors, in 2007-08 he held Carnegie Hall’s Barbara Debs Composer’s Chair, and in 2001 he was awarded the Grawemeyer Award for his orchestral work . His most recent big orchestral work is , composed for the opening of the New World Sym- phony’s new concert hall in Miami Beach and premiered in January 2011. The Boston Symphony Orchestra has performed several of his works, including and Asyla and, under the composer’s direction in his BSO conducting debut in March 2011, scenes from The Tempest and his Violin Concerto, Concentric Paths.

Adès has been called a musical surrealist (most notably by musicologist and critic Richard Taruskin), an apt suggestion if not taken too literally. As in paintings by Magritte or Dali or in Man Ray’s photographs, we find familiar objects placed in paradoxical rela- tionships (Magritte’s The Treachery of Images [“Ceci n’est pas une pipe”]), viewed from unusual perspectives (Dali’s Christ of St. John of the Cross), or portrayed with unexpected changes in detail (Man Ray’s Le Violon d’Ingres). The filmmakers Luis Buñuel and Jean Cocteau used editing techniques to cross-relate images or reverse time, imposing new meaning to sequences that otherwise might seem innocuous. In his early music, Adès’s use of quotation and stylistic mimicry achieved a similar effect, culminating in the illus- tration of the progress of eras in Powder Her Face. Transformation of familiar objects is also possible in music; in Asyla, a cyclic harmonic progression is articulated surprisingly by tuned cowbells and a piano tuned a quarter-tone low, and in the third movement of

week 8 program notes 35

that same piece, we hear “rave” or electronica dance music conjured up by a Romantic- era symphony orchestra.

Adès’s frequent use of what one might think of as the “passacaglia principle”—a series of variations over a repeating pattern, as in the chaconne in Bach’s D minor partita for solo violin—might suggest a surrealistic dip into the past, the forcible conformation of modern material to a hoary traditional form. He has used the passacaglia idea in a number of works—it’s at the heart of his Violin Concerto, as well as Asyla, , The Tempest, and In Seven Days. But that kind of structure is one that has evolved from his treatment of musical ideas. His music focuses on sounds—pitches, timbres, harmonies— that for him suggest life, a useful instability, the possibility of growth and of emerging relationships with other sounds. “The moment I put a note down on paper it starts to slide around on the page,” he has said.* Going back to the creation myth in Genesis, the myth’s usefulness as a medium for In Seven Days (as opposed to the piano concerto being a medium for the expression of the myth, which would be the wrong way to look at it) comes from its literary form combined with its message of constant, sometimes even viscerally painful change leading to the existence of...well, leading to existence. The experience of listening to the piece doesn’t give one the impression of a fixed and immutable mold into which the music has been poured. Nor does the final day, the day of rest, suggest completion, although it’s the simplest presentation of the thematic idea.

For those who know Adès’s work, the music of In Seven Days will be in some ways familiar. An underlying chord progression, in fact, is taken directly from Ariel’s “Five fathoms deep” aria in The Tempest; the initial orchestral chord of that aria makes an explicit appearance at the start of the third movement. (There are other such chords, as well.)

The concerto’s seven movements map out the seven days of the myth. The seventh presents the big theme—a chord progression with falling, overlapping scales—in its simplest guise, with a final gesture that “wraps” the music round to the beginning of the piece, suggesting an endless loop within which the smaller spirals of the variation move- ments are nested. The story’s dichotomies are reflected in a number of ways: the large, two-part division that groups the “creation” days 1-3 and 4-6 (with day 7 being the day of rest); the two protagonists of solo piano and orchestra; the two ideas (scale melody and chord progression) that serve as the basis for the concerto’s spiraling passacaglia form, as well as, of course, more basic ideas such as high and low, fast and slow, rising and falling, and so forth.

In day 1, “Chaos—Light—Dark” the strings begin alone with a strongly pulsed idea in the area of B major. Subtly, this idea begins to shift by an eighth-note here and there, creating a canon effect and the feeling of shifting superimposed tempos. Flute solos enter at clearly but slightly faster speeds of seven eighth-notes to six in the orchestra. This

* In the book Thomas Adès: Full of Noises, conversations with Tom Service (2012).

week 8 program notes 37

“phasing” of the material, which we find throughout the piece, already suggests parallel natural processes taking place at slightly different rates, like two trees growing side-by- side, or the movements of stars through the night sky. (In music the model is from Nancarrow, Ligeti, and Carter.) In what seems like a nod to an older tradition, the piano doesn’t enter until after this little “exposition,” which lasts about three minutes and ends with a big orchestral chord. The piano’s syncopated chords and scales are again out of phase with the orchestra’s tempo, but the basic idea of the material is quite clear. After a period of rising, the music falls and comes to a few moments of repose over an oscillat- ing harmony. The “Dark” episode features the lowest spectrum of the orchestra, with resonant, Sibelius-like brass chords, horns, muted trumpets, and trombones, finally shat- tering in the bright, brittle first chord of the second movement, “Separation of the waters into sea and sky.”

The music here, dominated by the piano with metallic punctuation in the orchestra, is a series of episodes with falling, increasingly complex music in the treble and constantly rising music in the bass, a process that continues throughout the movement. The third day, “Land—Grass—Trees,” begins low and quiet in the orchestra, and in contrast with the previous movement the music tends to rise throughout. The idea of growth emerges from the now familiar cyclic harmonic progression, which “blooms” from low to high and is transformed through the use of orchestral color. The piano solo plays patterns of alter- nating-hand, widely separated chords. Increasing activity culminates in a big chord, fol- lowed by rapid figuration in the piano for the sparkling start of “Stars—Sun—Moon.” The correspondence of the piano’s high filigree and high, sustained woodwinds with the night sky should be clear, with “warmer” music for the sun and a depiction of the moon that begins with piano alone.

Adès creates a fugue for the orchestral day 5, “Creatures of the Sea and Sky,” which begins with falling chords in muted trumpets. The quick, lively fugue theme begins in flute and piccolo, moving downward in pitch and proliferating through the orchestra, becoming more and more “populous,” and featuring such fugal necessities as augmenta- tion. Piano alone continues the fugue for the start of “Creatures of the Land.” The music gradually calms and seems to expand, leaving the soloist alone for the completion of the movement. The finale, “Contemplation,” brings falling chords in the piano with the sus- tained presentation of the chord-progression theme in the orchestra. Strings alone begin to reseed the music for the beginning of a new cycle.

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 8 program notes 39

Sergei Prokofiev Piano Concerto No. 1 in D-flat, Opus 10

SERGEI SERGEIEVICH PROKOFIEV was born in Sontsovka, Ekaterinoslav district, Ukraine, on April 27, 1891, and died at Nikolina Gora, near Moscow, on March 5, 1953. He began composing the Piano Concerto No. 1 in the summer of 1910 and completed it in February 1912. It was first performed on August 7, 1912, in Moscow, with the composer as soloist and Konstantin Saradzhev conducting.

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons, contrabassoon, two trumpets, four horns, three trombones, tuba, timpani, chimes, glockenspiel, and strings.

Sergei Prokofiev’s First Piano Concerto established him as an elemental new force—a cyclone, even—on the Russian musical scene. For some, its hammering, titanic octave scales and confrontational strutting felt like “a slap in the face of public taste.” That was the title Futurist poet Vladimir Mayakovsky gave to a collection of poems that appeared the same year. The concerto didn’t even deserve to be called music, detractors grumbled. And its impudent twenty-one-year old creator was nothing less than a “madman” who should be put into a straitjacket. But for others, the visionary and aggressive concerto signaled the arrival of an exciting creator whose music would open a new era. When he rose from the keyboard after playing the solo part in the first performances in Moscow and Pavlovsk in the summer of 1912, Prokofiev heard both wild cheers and outraged cat- calls. The hullaballoo delighted the “bad boy of Russian music.” “There is no doubt that these appearances have established me as a ‘real’ composer with an enviable position relative to the musical hoi polloi,” he wrote with characteristic confidence in his diary (as translated by Anthony Phillips).

Much of the early success of the concerto had to do with Prokofiev’s angular stage demeanor and percussive, athletic, anti-romantic playing style—so different from what Russian audiences were used to. There was none of the sentimental musing of Tchaikovsky

week 8 program notes 41 Program page from the first Boston Symphony performances of Prokofiev’s Piano Concerto No. 1 on March 25 and 26, 1938, with the composer as soloist under the direction of Richard Burgin, part of an all-Prokofiev program with the composer otherwise conducting (BSO Archives)

42 or Rachmaninoff (whose Third Piano Concerto was only three years old), none of the misty impressionistic hothouse atmosphere of Scriabin. This was a new kind of fiery Futurist music for the twentieth century, full of hard, driving energy and speed.

For the aspiring young composer Vladimir Dukelsky, later to become famous as the Broadway composer Vernon Duke, the experience of seeing Prokofiev play the First Concerto in Kiev in 1916 was transformative. In his entertaining memoir Passport to Paris, Duke described it as “a completely novel kind of piano playing...This young man’s music and his performance of it reminded me of the onrushing forwards in my one unfortunate soccer experience; there was no sentiment, no sweetness there—nothing but unrelenting energy and athletic joy of living.” One of the most talented Russian pianists of his gener- ation, Prokofiev understood very well how to write music that exploited his own vivid and “modern” performing personality.

During the period he was developing ideas for the First Piano Concerto, Prokofiev was still a graduate student at the St. Petersburg Conservatory. At this august institution, whose students and professors had included many of the great names of Russian music, Prokofiev forged a reputation as a rebel and iconoclast with little respect for authority. Some professors, like Konstantin Lyadov and Alexander Glazunov, wrote him off as an impudent upstart, but others—especially Nikolai Tcherepnin—appreciated his forceful originality and brashness. As his teacher for conducting, Tcherepnin introduced Prokofiev to avant-garde music and the latest international techniques and trends. In tribute to this encouragement, Prokofiev dedicated the First Piano Concerto—his first large work for orchestra and soloist—to Tcherepnin.

The musical material came together slowly. In summer 1910, Prokofiev first decided to compose a concerto and began to sketch out ideas. But other projects interfered, and he put the work aside until spring 1911. By then his approach had changed; now he envi- sioned writing two different pieces for piano and orchestra—one a serious concerto, and the other (as he wrote in his diary) “a light, attractive Concertino, full of joie de vivre.” After another break (to work on his first opera, Maddalena), Prokofiev returned to the work and decided to merge the ideas he had been developing for the two pieces into one “full-blown” concerto, which he completed during the winter of 1911-12.

In his diary—a remarkably detailed account of his activities that runs to 1500 pages in the Russian original—Prokofiev provides an extended musical analysis of the concerto’s unusual structure.

The canvas on which the basic formal design is drawn is sonata form, but I so far departed from it that my Concerto cannot possibly be described as being in sonata form. A massive Introduction in D-flat major, which by virtue of its material is of great importance in itself, moves into C major and is then followed by a transition from C major to the main subject, which is of course also in D-flat major. This is extended and leads to the second subject, in E minor. A short cadenza for the solo piano intro-

week 8 program notes 43 44 The Russian composer, conductor, and teacher Nicolai Tcherepnin (1873-1945), the dedicatee of Prokofiev’s Piano Concerto No. 1

duces a theme in E minor, which has some of the characteristics of a concluding section and may be thought of as the first concluding section. This is followed by a second concluding episode in E major. Although it too has a feeling of cadence about it, it does not in fact bring the exposition to a close but modulates back to the theme of the introduction, and it is that which concludes the exposition section of the work.... My Concerto then proceeds, not by the expected development section, but by an entirely new theme in the style of a rondo of the fourth and fifth types. This theme is a completely self-contained Andante dropped in, as it were, at this point....There ensues a dialogue between piano and orchestra based on the interval E-A, taken from the first concluding section, and against the background of this interval appear glimpses of the principal subject....The orchestra enters with the second subject, and while the piano contributes some freely contrapuntal material, sets out one after the other the two concluding sections. Piano and orchestra join together for a statement of the second concluding section, which as before leads back to the theme of the introduction, and this brings the whole work to a close. It is the threefold repetition— at the beginning, in the middle, and at the end—of this powerful thematic material that assures the unity of the work.

Elsewhere, Prokofiev called the massive thrice-repeated introductory episode—played in three octaves in both hands and climbing ecstatically by two octaves in heavily punctuated 2/2 march-like meter—“the three whales that hold the concerto together.” Some observers dubbed the insistent opening five-note phrase (dotted eighths followed by three quarters) a“blow to the head” (po cherepu). The concerto is a thrilling statement of Prokofiev’s optimistic, forceful “Scythian” aesthetic, also expressed in the cacophonous Scythian Suite written two years later. Lasting only about fifteen minutes—much shorter than any of his subsequent four concertos—the First Concerto also reflects his early striving (revealed also in the Classical Symphony and the First Violin Concerto) for brevity and economy.

week 8 program notes 45

The notoriety of the First Concerto grew when Prokofiev played it in a piano competition held at the time of his graduation from St. Petersburg Conservatory in spring 1914. Each year, the best students specializing in piano participated in a “battle of the pianos.” The winner—chosen by a jury of professors—received the Anton Rubinstein Prize, a new Shreder piano, lots of publicity, and the opportunity to play at the official graduation ceremonies. Looking to make a sensational impression as usual, Prokofiev surprised everyone by performing his own concerto—not the usual Liszt or Saint-Saëns. He was accompanied on another piano by his friend and future collaborator, Vladimir Dranishni- kov. The performance caused a “terrific uproar with applause and booing.”

Following prolonged and stormy deliberations, the jury voted to give first prize to Prokofiev, although some of its members, especially Glazunov, the Conservatory’s director, were adamantly opposed. Glazunov had almost to be pushed on stage to make the announce- ment of the decision, which he read “in a flat monotone.” A few weeks later, at the official graduation ceremony, Prokofiev performed the concerto with an orchestra con- ducted, appropriately, by Tcherepnin. It was a spectacular and theatrical exit from the institution where Prokofiev had spent the last ten years—and the beginning of a strange and brilliant career.

Harlow Robinson harlow robinson is Matthews Distinguished University Professor at Northeastern University and lectures frequently for the Boston Symphony Orchestra and the Metropolitan Opera Guild. He is the author of “Sergei Prokofiev: A Biography” and editor/translator of “Selected Letters of Sergei Prokofiev.”

THEFIRSTAMERICANPERFORMANCE of Prokofiev’s Piano Concerto No. 1 took place on December 11, 1918, when the composer was soloist with the Chicago Symphony Orchestra and Eric De Lamarter conducting.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of this concerto were on March 25 and 26, 1938, with the composer as soloist and Richard Burgin conducting. The only other BSO perform- ances until this week featured Malcolm Frager, at Tanglewood under Erich Leinsdorf’s direction on August 2, 1963; and John Browning, also under Leinsdorf: single performances in Boston and New York in November and December 1965, respectively, and then a Tanglewood performance on August 13, 1967.

week 8 program notes 47

Jean Sibelius Symphony No. 6, Opus 104

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Hämeenlinna (Tavestehus in Swedish), Finland, on December 8, 1865, and died at Järvenpää, near Helsingfors (Helsinki), on September 20, 1957. Though he referred to plans for his Sixth Symphony in a letter dating from May 1918, Sibelius completed the work only in February 1923. He conducted the first performance on the 19th of that month in Helsinki—the last time he conducted in Finland.

THE SCORE OF SIBELIUS’S SYMPHONY NO. 6 calls for two flutes, two oboes, two clarinets and bass clarinet (the latter used in no other Sibelius symphony), two bassoons, four horns, three trumpets, three trombones, timpani, harp, and strings.

Sibelius’s Sixth Symphony is a hard nut to crack. Indeed, had he called it a “symphonic fantasia”—a title he considered using for his Symphony No. 7—we would probably worry less about its deviations from what we generally take a “symphony” to be and instead accept its particularities for what they represent: the product of a composer whose notions of “symphony” and “tone poem” are inextricably combined, whose major sym- phonic works successfully inhabit both those worlds.

Sibelius’s affinity for his country’s land and folklore is apparent in his music from the start. His earliest piece, for violin and pizzicato, was called Waterdrops. As a young violin student, he would spend hours improvising on the instrument while wandering in the woods or by the lake near his family’s quiet home in Finland’s interior. Years later, as he observed in his diaries, the beauties of the land near his country estate in Järvenpää, the small country village, northeast of Helsinki, to which he moved in 1904, helped dis- tract him from the atrocities of civil war that ravaged Finland in the final phase of its struggle against Russia at the close of World War I.

Perhaps it is the elemental nature of his music that explains the composer’s international popularity even during his own lifetime: the basic impulse strikes home entirely without

week 8 program notes 49 Program page from the first Boston Symphony performances of Sibelius’s Symphony No. 6, on February 28 and March 1, 1930, with Serge Koussevitzky conducting (BSO Archives)

50 our needing to analyze his achievement. At the same time, a sense of geography informs the symphonies. His writing for the strings can be biting and jagged on the one hand, open and ethereal on the other. Woodwinds frequently undulate in pairs, birdlike. Ground- swells of brass and drums, rocking figures throughout the orchestra, somehow seem relevant to the Nordic land- and seascape. Bengt de Torne, one of the composer’s biogra- phers, recalled that “One day I mentioned the impression which always takes hold of me when returning to Finland across the Baltic, the first forebodings of our country being given us by low, reddish granite rocks emerging from the pale blue sea, solitary islands of a hard, archaic beauty, inhabited by hundreds of white sea-gulls. And I concluded by saying that this landscape many centuries ago was the cradle of the Vikings. ‘Yes,’ Sibelius answered eagerly, and his eyes flashed, ‘and when we see those granite rocks we know why we are able to treat the orchestra as we do!’ ”

In a letter of May 20, 1918, Sibelius wrote of plans for his Fifth, Sixth, and Seventh sym- phonies: My new works—partly sketched and planned. My Fifth Symphony in a new form—practically composed anew, I work at it daily. Movement I entirely new, movement II reminiscent of the old, movement III reminis- cent of the end of the first movement of the old. Movement IV the old motifs, but stronger in revision. The whole, if I may say so, a vital climax to the end. Triumphal. The Sixth Symphony is wild and impassioned in character. Sombre with pastoral contrasts. Probably in four movements with the end rising to a sombre roaring of the orchestra, in which the main theme is drowned. The Seventh Symphony. Joy of life and vitality, with appassionato passages. In three movements—the last an “Hellenic rondo.” All this with due reservation... It looks as if I were to come out with all of these three symphonies at the same time....

By the time he wrote this letter, Sibelius had already led the premiere of the Fifth Symphony on December 8, 1915, his fiftieth birthday. A revised version followed a year later, the final version only in November 1919. The Sixth Symphony was completed in February 1923, the Seventh in March 1924. The ideas outlined by Sibelius in May 1918 ultimately intermingled in ways he could not have foreseen; the specific adjectives don’t entirely apply to the works he finally completed. But it is in the area of large structure, the overall shape of these works, that his early thoughts are particularly interesting. It was the Fifth Symphony, not the Seventh, that turned out in three movements, while the Seventh emerged as a single, twenty-two-minute span. The Sixth Symphony, while hardly “wild and impassioned,” did turn out “in four movements”—but these four movements don’t behave in quite the way we expect. And there is the point. Sibelius was an innovator capable of enormous strides as he moved from one work to the next. Each of his sym- phonies from the Third to the Seventh plays very much by its own rules, questioning or stretching the notion of “symphony” while still remaining interpretable within the context

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implied by that name, which, as we basically understand it, means a confluence of sounds originated by an orchestra, and typically laid out in four sections called “movements,” with a particular thematic and harmonic structure that enables us to follow the musical discourse from beginning to end. That said, let us look at just a few of the things that make Sibelius’s Symphony No. 6, while still a “symphony,” rather strange and mysterious.

As already noted, the four movements don’t “behave” as we might expect. Yes, there are four of them, but there isn’t a slow movement, and, as Michael Steinberg puts it, “there is virtually no slow music.” Were we to impose “normal” expectations, the third move- ment might fulfill them, since it is fast, scherzo-like in character. But what does “normal” mean after two movements that have defied expectations? Or is there really something about the third movement that conforms? More on that below.

Further, it is hard—and probably irrelevant—to identify recurrent melodic themes. There are “themes” in the sense that certain recognizable ideas or moods prevail at different times, and this provides a sense of tension and release, growth and change, as passages of music moving at different rates of speed succeed each other. The device of using slower music unexpectedly to supplant a previous long passage of faster music occurs at several key places and helps provide a foothold, but, intriguingly, these occurrences remain unsettling even after repeated hearings of the work.

What about the harmonies? From the start there is that unsettled, otherworldly, even antique character to the music. At the very beginning Sibelius achieves this effect by emphasizing the high strings, as divided second and then first violins, supported only by violas, engage in Palestrina-like polyphony. In fact, the strings play a predominant role throughout this symphony, even as the woodwinds, brass, and drums add their contribu- tions to the otherwise typically Sibelian texture. This is also the only Sibelius symphony other than his First to include a harp, which provides its own characteristic sound.

week 8 program notes 53 Aside from the airy austerity of the opening, there is a real “antique” quality founded in Sibelius’s use of modal harmonies. The initial melodic configurations center around the note D, but the constant presence of the note C (rather than C-sharp, the normal “lead- ing tone” of a do-re-mi scale on the home note of D, and which helps define the key of D in both its major and minor modes) harks back to the medieval Dorian mode, which you can hear at the piano by playing the sequence of white notes from D to D.

The C/C-sharp dichotomy is further emphasized in different ways: the first accented chord of the symphony (measure 17) includes a C-sharp as its bass in the second violins, but the C-sharp in the low strings at measures 62-65 is countered by a C-natural that sounds against it in the timpani (mm. 64-65). The first music that we can hear as being settled in an actual “key” once the music reaches its real Allegro tempo is in C, thereby negating the earlier suggestion of D through emphasis on a harmonically distant area, and effectively wiping out altogether the C-sharp necessary to define the key of D. Meanwhile, the timpani, typically tuned to the first and fifth notes of the home scale, are here tuned to A, C, and F (there are retunings along the way, however, to include various other notes). Only at the end of the third movement do they hammer out the repeated D’s that finally and firmly propel the music of that movement onto a closing chord of D minor. Thus, despite suggestions of the Dorian mode, the third movement conforms to “normal” expectation insofar as its final harmony is concerned, in addition to the fact that its character is “right,” as observed earlier. But the beginning of the finale takes us once more in a different direction and back to the sound-world of the first two movements.

54 To return, finally, to the large view, with a look at the ending. The solemn antiphony that begins the last movement harks back to the melodic contours of the symphony’s open- ing, but this is a different sort of music, faster, more personal and conversational in the interplay of its instrumental groupings. The energy level builds, and the music grows increasingly lively and resolute, with plenty of forceful accents and elemental turbulence. A variant of the material that opened the movement returns to prepare another section of fast music, this leading to the closing pages, in which a final, impassioned prayer gives way to one last, spare comment from the violins and violas—the drum playing first C-natural, and then D, as softly as possible—which had begun the symphony nearly a half-hour earlier. The D of the violins fades into silence, and with that silence the sym- phony ends.

In his biography of Sibelius (1959), Harold Johnson wrote of the composer’s astonishment at the revelations expounded by analysts of his Sixth Symphony. Sibelius’s response to their findings: “You may analyze it and explain it theoretically. You may find that there are several interesting things going on. But most people forget that it is, above all, a poem.” Further, as Sibelius observed in the same May 1918 letter quoted above, his symphonies had become “professions of faith,” and it is not hard to sense something of this in the way he ends the first, second, and last movements of this symphony—with lean, concise phrases virtually devoid of sentiment, as if accepting the inevitability of a larger plan. In Sibelius’s Sixth Symphony, as in so much of his music, there is a convergence of the ancient and modern, of the elemental and the spiritual, raising questions with no imme- diate or apparent answers.

Marc Mandel

THEFIRSTAMERICANPERFORMANCE of Sibelius’s Sixth Symphony was given by the Philadelphia Orchestra led by Leopold Stokowski on April 23, 1926.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of Sibelius’s Sixth Symphony were given by Serge Koussevitzky in February/March 1930, in Boston, New York, Cambridge, and then again in Boston. Koussevitzky also led the work in several later seasons, the last time being in March 1946 in Boston, Brooklyn, and New York. Sir Thomas Beecham led BSO performances in January 1952, after which the orchestra did not play it again until November/December 1975 under Colin Davis, subse- quent performances being given by Michael Tilson Thomas (in February 1987, followed by the orchestra’s only Tanglewood performance, on August 21 that same year), Robert Spano (November/ December 1995), and Paavo Berglund (the most recent subscription performances, in March 2004).

week 8 program notes 55

To Read and Hear More...

Thomas Adès’s website, www.thomasades.com, is the most comprehensive source for up-to-date information about the composer. Basic information can also be found on the websites of his publisher, Faber Music (www.fabermusic.com), and his record label, EMI Classics (www.emiclassics.com). The Faber site features a comprehensive works list and program notes for many of Adès’s pieces. A newly published book, Thomas Adès: Full of Noises, conversations with Tom Service, presents Adès as a widely knowledgeable polemicist and offers some commentary on method and on specific pieces, but be aware that this is neither a biography nor a methodical survey of the composer’s music (Farrar Straus and Giroux). Tom Service is a respected and thoughtful English critic writing for The Guardian. The brief Adès article in New Grove II, originally written a dozen years ago and not yet updated, was written by Arnold Whitall.

In Seven Days was recorded by Nicolas Hodges and the London Sinfonietta under Thomas Adès’s direction for a release that also includes a DVD of the music with Tal Rosner’s video component (Signum Classics, with Adès’s two-piano arrangements of two studies by Conlon Nancarrow). Most of Adès’s works have been released on EMI. The Violin Concerto, Concentric Paths, was recorded by Anthony Marwood and the Chamber Orches- tra of Europe under the composer’s direction (with the orchestral work Tevot, Three Studies from Couperin, and the Overture, Waltz, and Finale from the opera Powder Her Face). A CD of The Tempest was made from live performances of a revival of the opera at Covent Garden in March 2007. Taking single works from a number of earlier releases, in fall 2011 EMI released a two-disc “Anthology” that includes the string quartet , the Quintet for Piano and Strings, America: A Prophecy (written in response to 9/11), and the aforementioned recording of the Violin Concerto, along with a number of other pieces. Sir Simon Rattle and the City of Birmingham Symphony Orchestra recorded Adès’s quasi-symphony Asyla (on a disc including his Concerto Conciso, These Premises Are Alarmed, Chamber Symphony, and ...but all shall be well). The opera Powder Her Face is also available, performed by the Almeida Opera and conducted by the composer. Adès as a performer of others’ music has released a piano recital disc of works by Grieg, Busoni, Janáˇcek, Stanchinsky, Kurtág, and Castiglioni, and accompanies tenor Ian Bostridge in Janáˇcek’s song cycle The Diary of One Who Disappeared (both also EMI).

Robert Kirzinger

week 8 read and hear more 57 The important modern study of Prokofiev is Harlow Robinson’s Sergei Prokofiev: A Biography. Originally published in 1987, this was reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”-vs.-“Western” perspectives typical of their time, as reflected in such older vol- umes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence (Northeastern University). Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). Claude Samuel’s Prokofiev is an equally well-illustrated introductory biography (Marion Boyars paperback, if you can still find it). Robert Layton discusses Prokofiev’s concertos in his chapter “Russia after 1917” in A Guide to the Concerto, for which Layton was also editor (Oxford paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobio- graphical account covering the first seventeen years of Prokofiev’s life, through his days at the St. Petersburg Conservatory (Doubleday).

The Boston Symphony Orchestra led by Erich Leinsdorf recorded the five Prokofiev piano concertos with pianist John Browning in the mid-1960s (RCA; reissued on CD by Testa- ment). Other recordings of Prokofiev’s First Piano Concerto include Martha Argerich’s with

58 Charles Dutoit and the Montreal Symphony (EMI), Vladimir Ashkenazy’s with André Previn and the London Symphony Orchestra (Decca), Yefim Bronfman’s with Zubin Mehta and the Israel Philharmonic (Sony), Andrei Gavrilov’s with Simon Rattle and the London Symphony Orchestra (EMI), and Evgeny Kissin’s with Claudio Abbado and the (Deutsche Grammophon).

Robert Layton’s Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London). Also useful are Andrew Barnett’s Sibelius, a detailed, single- volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). Philip Coad offers useful discussion of the com- poser’s symphonies in the chapter “Sibelius” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Lionel Pike’s collection of essays, Beethoven, Sibelius, and “the Profound Logic,” is recommended to readers with a strong technical knowledge of music (Athlone Press, London). Michael Steinberg’s program notes on all seven Sibelius symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

Among recordings of Sibelius’s Luonnotar are those featuring Soile Isokoski with Leif Segerstam and the Helsinki Philharmonic (Ondine), Mari Anne Häggander with and the Gothenburg Symphony Orchestra (BIS), Ute Selbig with Colin Davis and the Dresden Staatskapelle (Hänssler Profil), Solveig Kringelborn with Paavo Järvi and the Royal Stockholm Philharmonic (Virgin Classics), and Phyllis Curtin with Leonard Bernstein and the New York Philharmonic (Sony, recorded 1965).

The Boston Symphony Orchestra recorded Sibelius’s Symphony No. 6 in 1975 with Colin Davis conducting as part of their complete Sibelius symphony cycle (Philips). Other recordings of the Sixth Symphony (listed alphabetically by conductor) include Paavo Berglund’s with the London Philharmonic Orchestra (LPO), Herbert Blomstedt’s with the San Francisco Symphony (Decca), Sakari Oramo’s with the City of Birmingham Symphony Orchestra (Erato), Simon Rattle’s with the City of Birmingham Symphony Orchestra (EMI), and Osmo Vänskä’s with the (BIS). The very first recording of Sibelius’s Sixth Symphony, from 1934 with Georg Schnéevoigt conduct- ing the Finnish National Orchestra, is also available on CD (Divine Art “Historic Sound”).

Marc Mandel

week 8 read and hear more 59 Guest Artists

Thomas Adès

Born in London in 1971, Thomas Adès studied piano and composition at the Guildhall School of Music and Drama, and read music at King’s College, Cambridge. Renowned as both a com- poser and a performer, he works regularly with the world’s leading opera companies and festivals. Recent conducting engagements have included a tour with the Britten Sinfonia, and concerts with the Chamber Orchestra of Europe, the Gulbenkian Orchestra (as part of his Gulbenkian Foundation Residency), the Boston Symphony Orchestra, the London Symphony, São Paulo State Symphony Orchestra, Royal Concertgebouw Orchestra, Los Angeles Philhar- monic, the City of Birmingham Symphony Orchestra, the Philharmonia Orchestra, the Mariinsky Theatre Orchestra, the Royal Stockholm Philharmonic Orchestra, the BBC, Finnish, and Danish radio symphony orchestras, the Birmingham Contemporary Music Group (of which he was music director between 1998 and 2000), the London Sinfonietta, Ensemble Modern, and the Athelas Ensemble. From 1999 to 2008 he was artistic director of the Aldeburgh Festival. Recent piano engagements have included a recital at Carnegie Hall with Ian Bostridge, and an appearance with Alan Gilbert and the New York Philharmonic. As Composer in Association with the Hallé Orchestra (1993-95), he wrote The Origin of the Harp and These Premises Are Alarmed. Asyla (1997) was a Feeney Trust commission for Sir Simon Rattle and the City of Birmingham Symphony Orchestra. His first opera, Powder Her Face (commissioned by Almeida Opera for the Cheltenham Festival in 1995), has been performed all around the world and is available on CD and DVD. His second opera, The Tempest, was commissioned by the Royal Opera House and premiered under his direction in February 2004. It was revived at Covent Garden in 2007 and has also been performed in Copenhagen, Frankfurt, Lübeck, Strasbourg,

60 Santa Fe, and Quebec. It is receiving its Metropolitan Opera premiere this fall in Robert Lepage’s new production under the composer’s direction. The EMI CD of the opera earned France’s Diapason d’Or de l’année and the 2010 Classical Brit Award for Composer of the Year. In September 2005 Mr. Adès led the Chamber Orchestra of Europe in the premiere of his Violin Concerto, Concentric Paths (written for Anthony Marwood) at the Berliner Festspiele and the BBC Proms. His second orchestral work for Simon Rattle, Tevot (2007), was commissioned by the Berlin Philharmonic and Carnegie Hall. Appointed to the Richard and Barbara Debs Composer Chair at Carnegie Hall for 2007-08, he was featured as composer, conductor, and pianist throughout that season. Recent works include his “piano concerto with moving image” entitled In Seven Days (a collaboration with video artist Tal Rosner), commissioned by the Los Angeles Philharmonic and London’s Southbank Centre; Lieux Retrouvés, a work for cello and piano written for Steven Isserlis and commissioned by the Aldeburgh Festival and Wigmore Hall; his Mazurkas, given their world premiere at Carnegie Hall by Emanuel Ax in 2010; the orchestral work Polaris, premiered by Michael Tilson Thomas and the New World Symphony in the inaugural concert of the New World Center in Miami Beach in 2011, and The Four Quarters, written for the Emerson String Quartet and premiered by that ensemble at Carnegie Hall in 2011. Mr. Adès’s music has garnered numerous awards and prizes, including the presti- gious Grawemeyer Award (in 2000, for Asyla), of which he is the youngest recipient. Thomas Adès made his Boston Symphony Orchestra debut in March 2011; the program included Tempest-inspired music by Tchaikovsky and Sibelius, his own violin concerto Concentric Paths, and scenes from his opera The Tempest. To open the Boston Symphony Chamber Players concert this Sunday afternoon at Jordan Hall, he and Kirill Gerstein will perform Beethoven’s Grosse Fuge in Beethoven’s own arrangement for piano four-hands.

Dawn Upshaw

Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from Bach to contemporary works. On the operatic stage, she has sung Mozart’s Pamina, Ilia, Susanna, and Despina, as well as modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg, Paris, and Glyndebourne to the Metropolitan Opera—where she has made nearly 300 appearances—she has also championed numerous new works created

week 8 guest artists 61 for her, including John Harbison’s The Great Gatsby; Kaija Saariaho’s Grawemeyer Award- winning opera, L’Amour de loin, and oratorio La Passion de Simone; John Adams’s nativity oratorio El Niño; and Osvaldo Golijov’s chamber opera Ainadamar and song cycle Ayre. Her 2012-13 season features appearances with the St. Paul Chamber Orchestra, where she is an Artistic Partner, reprising jazz composer Maria Schneider’s Carlos Drummond de Andrade Stories and singing music of Bach, Handel, and Crumb, as well as the world premiere of a new work written for her by Shawn Jaeger. Also this season she recreates the role of Simone Weil in La Passion de Simone with Esa-Pekka Salonen and the Finnish Radio Symphony Orchestra, appears with the Boston Symphony in Sibelius’s Luonnotar under Thomas Adès, and sings music of Debussy with the London Symphony under John Adams. As recitalist, she appears with pianist Stephen Prutsman at the University of Texas at Austin, and embarks on a tour of Hawaii with longtime collaborator Gilbert Kalish. She also performs with The Knights chamber orchestra at the Ravinia Festival, and with the Crash Ensemble at the Kennedy Center and at Carnegie Hall in music written for her by Irish composer Donnacha Dennehy. She is a favored partner of such musicians as Richard Goode, the Kronos Quartet, James Levine, and Esa-Pekka

62 Salonen. As a recitalist, she has premiered more than twenty-five works in the past decade. Ms. Upshaw is artistic director of the Vocal Arts Program at College Conservatory of Music, and a faculty member at the Tanglewood Music Center, of which she is an alumna. A four-time Grammy-winner, she is featured on more than fifty recordings, including the million-selling Symphony No. 3 of Henryk Górecki; full-length recordings of Mozart’s Le nozze di Figaro, Messiaen’s St. François d’Assise, and Stravinsky’s The Rake’s Progress; Adams’s El Niño, two volumes of Canteloube’s Songs of the Auvergne, and a dozen recital recordings. Her most recent Deutsche Grammophon release is “Three Songs for Soprano and Orchestra,” the third in a series of acclaimed recordings of Osvaldo Golijov’s music. In 2007 she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the five-year “genius” prize; in 2008 she was named a Fellow of the American Academy of Arts & Sciences. She holds honorary doctoral degrees from Yale, the Manhattan School of Music, Allegheny College, and Illinois Wesleyan University. Ms. Upshaw began her career as a 1984 winner of the Young Concert Artists Auditions and the 1985 Walter W. Naumburg Competition, and was a member of the Metropolitan Opera Young Artists Development Program. She has recorded extensively for the Nonesuch label and can also be heard on Angel/EMI, BMG, Deutsche Grammophon, London, Sony Classical, Telarc, Erato, and Teldec. Ms. Upshaw made her Boston Symphony Orchestra debut at Tanglewood in 1988 and her BSO subscription series debut in February 1993. Her most recent subscription appearances were in October 2005, as soloist in Lukas Foss’s Time Cycle. Her most recent Tanglewood appearance with the orchestra was in August 2010, in selections from Canteloube’s Songs of the Auvergne and Golijov’s Three Songs for Soprano and Orchestra. In July 2003 at Tanglewood she originated the role of Margarita Xirgu in the Tanglewood Music Center’s world premiere production of Golijov’s opera Ainadamar, which was commissioned by the BSO for the TMC.

Kirill Gerstein

Pianist Kirill Gerstein makes his BSO subscription series debut this week as soloist in both Thomas Adès’s In Seven Days and Prokofiev’s Piano Concerto No. 1, having made his BSO debut with Tchaikovsky’s Piano Concerto No. 1 at Tanglewood in July 2010. This Sunday afternoon at Jordan Hall, he and Thomas Adès open the Boston Symphony Chamber Players program

week 8 guest artists 63 64 performing Beethoven’s own four-hand arrangement of the Grosse Fuge, and Mr. Gerstein joins the Chamber Players to close the program with Brahms’s F minor piano quintet, Opus 34. Recipient of the 2010 Gilmore Artist Award, Kirill Gerstein is only the sixth pianist to have been so honored. He has since shared his Gilmore prize by commissioning boundary-crossing new works from Brad Mehldau and Chick Corea. Mr. Gerstein was also awarded an Avery Fisher Career Grant in April 2010, and received a 2002 Gilmore Young Artist Award as well as first prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv. Highlights of his 2012-13 season include subscription debuts with the Philadelphia Orchestra, the Boston, Toronto, and Montreal symphonies, and with the Czech Philharmonic, NDR Hamburg, RSB Berlin, and Vienna Tonkünstler Symphony; and re-engagements with the St. Louis and Indianapolis symphonies and in London with the Philharmonia Orchestra, at the Proms, and in recital at Queen Elizabeth Hall. He makes his first appearance at the Santa Fe Chamber Music Festival and returns to the Bravo! Vail Valley Music Festival with the Philadelphia Orchestra. Mr. Gerstein’s recent North American engagements include performances with the New York and Los Angeles philharmonics, , and the Chicago, San Francisco, Atlanta, Detroit, Houston, Dallas, Baltimore, Seattle, and Vancouver symphonies, among others; festi- val appearances at Chicago’s Grant Park, Aspen, both the Mann Music Center and Saratoga with the Philadelphia Orchestra, Tanglewood with the Boston Symphony, and Blossom with the Cleveland Orchestra; and recitals in Boston, New York, Vancouver, Miami, Detroit, Berkeley, and Washington’s Kennedy Center. Internationally Mr. Gerstein has worked with the Munich, Rotterdam, and Royal philharmonics, the City of Birmingham Symphony Orchestra, Dresden Staatskapelle, Zurich Tonhalle, the Finnish and Swedish radio orchestras, WDR Cologne, and the Deutsches Symphonie-Orchester Berlin, as well as with the NHK Symphony Orchestra in Tokyo and the Simón Bolívar Youth Orchestra in Caracas with Gustavo Dudamel. He has also performed recitals in Paris, Prague, Hamburg, London’s Wigmore Hall, and at the Liszt Academy in Budapest. He made his Salzburg Festival debut playing solo and two-piano works with András Schiff and has also appeared at the Verbier, Lucerne, and Jerusalem Chamber Music festivals. Mr. Gerstein’s first Myrios Classics recording (Schumann, Liszt, and Knussen) was named one of the ten best of 2010 by the New York Times, and was followed by a duo-recital disc with Tabea Zimmermann. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a music school for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. He came to the United States at age fourteen to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music, and also continued working on the classical piano repertoire. At sixteen he decided to focus on classical music, moving to New York to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both bachelor’s and master’s degrees in music. He continued his studies with Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Kirill Gerstein became an American citizen in 2003 and is currently professor of piano at the Musikhochschule in Stuttgart. Please visit www.kirillgerstein.com for further information.

week 8 guest artists 65 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

66 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. ‡ and Mrs. William H. Congleton • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (10)

‡ Deceased

week 8 the great benefactors 67

The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestraís founder and first benefactor, Henry Lee Higginson. The BSO is grateful to the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The Symphony Annual Fund provides more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by November 1, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Peter and Anne Brooke • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O’Block • Drs. Joseph J. and Deborah M. Plaud • William and Lia Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2) maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Mr. and Mrs. John M. Bradley • Lorraine D. and Alan S. ‡ Bressler • William David Brohn • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Diddy and John Cullinane • Mr. and Mrs. Miguel de Bragan¸ca • Happy and Bob Doran •

week 8 the higginson society 69 Julie and Ronald M. Druker • Thomas and Winifred Faust • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Maureen and Joe Roxe/The Roxe Foundation • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters

patron $10,000 to $14,999 Amy and David Abrams • Ms. Lucille M. Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Dr. Lawrence H. and Roberta Cohn • Mrs. William H. Congleton ‡ • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (4)

sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Jim and Virginia Aisner • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Judith and Harry Barr • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • The Cavanagh Family • Ronald and Judy Clark • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Donna and Don Comstock • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Larry and Atsuko Fish • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Mr. and Mrs. Mark Goldweitz • Raymond and Joan Green •

70 Vivian and Sherwin Greenblatt • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Rosemarie and Alexander Levine • Christopher and Laura Lindop • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Kristin A. Mortimer • Mr. and Mrs. Rodger P. Nordblom • William A. Oates • Mr. and Mrs. Joseph O’Donnell • Mr. and Mrs. Peter Palandjian • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • Marian and Dick Thornton • Blair Trippe • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and JoÎlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Jay A. Winsten and Penelope J. Greene • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6)

week 8 the higginson society 71

Administration

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

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 8 administration 73 74 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 8 administration 75 76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 8 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 8 administration 79 Next Program…

Friday, November 23, 1:30pm Saturday, November 24, 8pm Tuesday, November 27, 8pm

christian zacharias, conductor and piano

haydn symphony no. 76 in e-flat Allegro Adagio, ma non troppo Menuetto. Allegretto; Trio Allegro, ma non troppo

mozart piano concerto no. 18 in b-flat, k.456 Allegro vivace Andante un poco sostenuto Allegro vivace mr. zacharias

{intermission}

beethoven music from the ballet score “the creatures of prometheus,” opus 43 Overture No. 1. Poco adagio No. 3. Allegro vivace No. 5. Adagio—Andante quasi Allegretto No. 9. Adagio No. 14. Andante (Solo della Cassentini) No. 15. Andante (Solo di Vigan`o) No. 16. Finale: Allegretto

FRIDAY PREVIEW TALK (NOVEMBER 23) BY JAN SWAFFORD OF THE BOSTON CONSERVATORY

Christian Zacharias displays both his podium and keyboard skills in an all-Classical program fea- turing the three great masters of the Austro-German Classical style, beginning with the BSO’s first-ever performances of Haydn’s Symphony No. 76, a typically inventive work from 1782. The program continues with Mr. Zacharias at the keyboard for Mozart’s Piano Concerto No. 18, from 1784, the year he became friends with Haydn in Vienna. The second half of the program offers excerpts from Beethoven’s complete ballet score to The Creatures of Prometheus, an early work dating from 1801, and rarely heard except for its familiar overture.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Sunday, November 18, 3pm Thursday ‘A’ November 29, 8-10 Jordan Hall, New England Conservatory Friday ‘B’ November 30, 1:30-3:30 BOSTONSYMPHONYCHAMBERPLAYERS Saturday ‘A’ December 1, 8-10 THOMASADÈS and KIRILLGERSTEIN, pianos STÉPHANEDENÈVE, conductor JEAN-YVESTHIBAUDET BEETHOVEN Grosse Fuge, arranged by the , piano composer for piano four-hands, BERLIOZ Overture to Les Francs-juges Op. 134 SAINT-SAËNS Piano Concerto No. 5, Egyptian CARTER Figment III for double bass (2007) MacMILLAN Three Interludes from the CARTER Wind Quintet (1948) opera The Sacrifice BRAHMS Piano Quintet in F minor, Op. 34 ROUSSEL Bacchus et Ariane, Suite No. 2

Friday ‘A’ November 23, 1:30-3:40 Thursday ‘A’ January 10, 8-10:10 Saturday ‘B’ November 24, 8-10:10 Friday ‘A’ January 11, 1:30-3:40 Tuesday ‘B’ November 27, 8-10:10 Saturday ‘A’ January 12, 8-10:10 CHRISTIANZACHARIAS, conductor and piano Tuesday ‘C’ January 15, 8-10:10 HAYDN Symphony No. 76 ALANGILBERT, conductor MOZART Piano Concerto No. 18 in B-flat, LISA BATIASHVILI, violin K.456 DUTILLEUX Métaboles BEETHOVEN Music from the ballet score TCHAIKOVSKY Violin Concerto The Creatures of Prometheus STRAVINSKY Symphony in Three Movements RAVEL La Valse

Sunday, January 13, 3pm Jordan Hall, New England Conservatory

BOSTONSYMPHONYCHAMBERPLAYERS

LUTOSŁAWSKI Dance Preludes for flute, , Programs and artists subject to change. clarinet, , horn, violin, viola, cello, and double bass (1959) FRANK Sueños de Chambi for flute and piano (2008) COPLAND Appalachian Spring (original chamber version)

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 8 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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 Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. 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 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. 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. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 8 symphony hall information 83 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 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. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday 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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