Summer 2019 Boston Symphony Orchestra

boston symphony orchestra andris nelsons music director

summer 2019 EXPERIENCE THE For the Discriminating NEW MET SEASON Shopper PHOTO: PAOLA KUDACKI / MET OPERAPHOTO:/ PAOLA KUDACKI

The Met’s 2019 – 20 season features ﬁve new productions, including Philip Glass’s Akhnaten, starring Anthony Roth Costanzo (pictured) as the Egyptian pharaoh opposite J’Nai Bridges as Nefertiti. Tickets go on sale June 23 — or curate your own series of performances and save up to 15%. Peter Gelb GENERAL MANAGER Learn more at metopera.org/tickets or by Yannick Nézet-Séguin world class calling 212.362.6000. JEANETTE LERMAN-NEUBAUER MUSIC DIRECTOR

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C+I 2019 studs.indd 3 8/29/19 12:15 PM Tanglewood_Jun_SingleTickets.indd 2 5/29/19 9:18 AM C+I 2019 studs.indd 4 8/29/19 12:16 PM Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus Seiji Ozawa, Music Director Laureate Thomas Adès, Deborah and Philip Edmundson Artistic Partner Thomas Wilkins, Germeshausen Youth and Family Concerts Conductor 138th season, 2018–2019

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Advisors of the Boston Symphony Orchestra, Inc.

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

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Darcey Bartel • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer •

Programs copyright ©2019 Boston Symphony Orchestra, Inc. Cover photo by Chris Lee Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis

Advisors Emeriti

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

† Deceased Tanglewood

The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra, led by Serge Koussevitzky, gave its first concerts in the Berkshire Hills of western Massachusetts. Those outdoor concerts did not take place at Tanglewood, however, but under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic led by composer/conductor Henry Hadley. But after a second series of concerts in 1935, plans for 1936 proved difficult, so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following that summer’s BSO concerts, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. A two-weekend festival was planned for 1937, and on August 5 that year, an enthusiastic crowd assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went not only far beyond the festival’s immediate needs, but also well beyond the $100,000 budget. When his second, simplified plans were also deemed too expensive, he wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. Except for the war years 1942-45, the Shed has resounded to the music of the Boston Symphony Orchestra every summer since, becoming almost a place of pilgrimage to millions of concertgoers. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its reputation for excellence that it drew nearly 100,000 visitors. In 1959, as the result of a collaboration After the storm of August 12, 1937, which precipitated a fundraising drive between the acoustical consultant Bolt for the construction of the Tanglewood Shed (BSO Archives) Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed’s present world-famous acoustics. Since 1966, the Boston University Tanglewood Institute has sponsored programs offering individual and ensemble instruction to talented younger students, mostly of high school age. In 1988, the Shed was rededicated on the occasion of its 50th anniversary as “The Serge Koussevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. With the BSO’s acquisition in 1986 of the High- wood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tangle- wood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre-Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall was inaugurated on July 7, 1994, providing a modern venue for Tanglewood Music Center concerts, and for the varied recital and chamber music concerts The tent at Holmwood, where the BSO played offered by the BSO and its guests. Ozawa Hall its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) with its attendant buildings also became the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. This year, the opening of the Linde Center for Music and Learning provides additional rehearsal and performance space for the Tanglewood Music Center, while also housing the new Tanglewood Learning Institute. Today, Tanglewood annually draws more than 350,000 visitors . Besides the concerts of the Boston Symphony Orchestra, the schedule includes chamber music and recital programs featuring prestigious guest artists; Prelude Concerts; Saturday-morning Rehearsals; the annual Festival of Contemporary Music; concerts by the young musicians of the Tanglewood Music Center; appearances by the Boston Pops Orchestra, and concerts by a variety of jazz and non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center (TMC) has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center to create a first- class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of BSO musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding Then TMC director Gunther Schuller (back to camera) leading to the war then raging in Europe. then BSO music director Seiji Ozawa, with bass drum, and a “So long as art and culture exist group of Music Center percussionists during a rehearsal for there is hope for humanity.” Randall Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) Thompson’s Alleluia for unaccompanied chorus, written specifically for the ceremony, made such an impression that it is still performed at each summer’s opening ceremony. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition,

Severe Weather Action Plan

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

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so. operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the TMC from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the reins while also restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bern- stein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus. Ellen Highstein became Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all ﬁrst-chair players, studied at the TMC. Prominent alumni include Claudio Abbado, Leonard Bernstein, Stephanie Blythe, Phyllis Curtin, Christoph von Dohnányi, Michael Gandolﬁ, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Tanglewood Music Center alumni play a vital role in the musical life of the nation, and the TMC remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Learning Institute Representing one of the most significant milestones here since the founding of Tanglewood in 1937 and the inception of the Tanglewood Music Center in 1940, the newly inaugurated Tanglewood Learning Institute (TLI) offers participants—whether newcomers or longtime Tanglewood patrons—an unprecedented and expansive array of engaging cross-cultural programs reflecting the shift toward participatory activities that complement the concert experience. TLI’s offerings link Tanglewood performances to relevant themes from the worlds of visual arts, film, history, philosophy, and current events by exploring thought-provoking approaches designed to view the world through the lens of music, while also breaking down the traditional barrier between artist and listener. Notable TLI presenters this year include former Secretary of State Madeleine K. Albright; Pulitzer Prize-winning author and historian Doris Kearns Goodwin; cellist Yo-Yo Ma; soprano Renée Fleming; BSO Music Director Andris Nelsons; composer John Williams, and playwright Tom Stoppard, as well as other important artists and cultural figures of our time. Among the new TLI initiatives are Saturday-morning Focal Point programs for amateur visual artists; a Sunday-evening Cinematics film series related to Tanglewood programming; TLI Immersion Weekends that delve deeply into major musical themes of the summer; TLI OpenStudios, offering master classes led by leading performers; Meet the Makers, presenting a wide spectrum of creators sharing the inspiration behind their craft, and The Big Idea, featuring major societal thinkers of our time. The home of the Tanglewood Learning Institute is the Linde Center for Music and Learning, a new, four-building, multi-use complex that also provides concert and rehearsal space for the Tanglewood Music Center and establishes Tanglewood, for the first time in its 82-year history, as a year-round facility. Designed by William Rawn Associates Architects, the Linde Center represents the largest building project at Tangle- wood since the completion and inauguration in 1994, a quarter-century ago, of Seiji Ozawa Hall, also designed by William Rawn Associ- ates. The Linde Center for Music and Learning boasts three technically advanced studios designed to maximize its flexibility for performance, rehearsal, and educational offerings of the Tanglewood Learning Institute. In addition, Cindy’s Café offers an informal place for musicians and audience members to interact—a hub for visitors, TMC Fellows and faculty, BSO players, and TLI participants. The buildings gather around a 100-year-old red oak, with a serpentine covered walkway connecting each building and framing views and paths through the landscape. Also as a part of this major investment in Tanglewood, Studio E in the new Linde Center for Music and Learning (Robert Benson) the BSO has revitalized Tanglewood’s bucolic 524-acre campus with new plantings, improvements to pedestrian circulation, and the restoration of views of the Stockbridge Bowl. The opening of the Linde Center for Music and Learning, along with the establish- ment of the Tanglewood Learning Institute, marks a transformational milestone in the history of Tanglewood.

Tanglewood Welcome Center The Tanglewood Welcome Center, located at the Main Gate next to the box office, offers general information about Tanglewood and literature about other Berkshire attractions. Hours are Monday-Thursday, 10am-6pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission. Lost and Found is located at the Tanglewood Welcome Center. Visitors who find stray property may hand it to any Tanglewood official. Tanglewood Visitor Center The Tanglewood Visitor Center, located on the first floor of the Tappan Manor House at the rear of the lawn across from the Koussevitzky Music Shed, provides general information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes a BSO Archives exhibit on Tanglewood and the Tanglewood Music Center, as well as the early history of the estate. Hours are Monday-Thursday, 10am-5pm; Fridays from 10am-intermission; Saturdays from 9am-intermission; and Sundays from 12 noon-intermission.

This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

A Blueprint for Excellence The Evolution of the Tanglewood Campus

To provide historical context relevant to the inauguration this summer of the new Linde Center for Music and Learning, this summer’s special focus exhibit at the Tanglewood Visitor Center draws upon the BSO Archives’ extensive collection of photographs, architectural plans, and other memo- rabilia documenting the evolution of the Tangle- wood grounds from 1937 to the present. Besides documenting the origins and early owner- The lowering by crane of a steel arch to ship of the Tanglewood form the roof of Seiji Ozawa Hall, 1993 (Walter H. Scott) and adjacent Highwood Photo, c.1950, of the Theatre-Concert Hall, estates, the exhibit explores which was completed in 1941 (Egone) the early development of the Tanglewood grounds, and the construction from the late 1930s through the 1940s of the Shed, Theatre-Concert Hall, Chamber Music Hall, and Main Gate area, all designed originally by Finnish architect Eliel Saarinen and his son Eero Saarinen. Also included in the exhibit are materials pertinent to the integration of the Tangle- wood and Highwood estates following the BSO’s purchase of Highwood in 1986, which allowed not only for the merging of the two properties, but for the construction of Seiji Ozawa Hall, designed by William Rawn Associates, and the creation of the Tanglewood Music Center’s Leonard Bernstein Campus—ultimately setting the stage for this summer’s inauguration of both the new Linde Center for Music and Learning, also designed by William Rawn Associates, and the Tanglewood Learning Institute.

Tanglewood’s Main Gate as completed originally in 1948 (Howard S. Babbitt)

Aerial view from the 1950s of Tanglewood and the neighboring Highwood estate (photographer unknown) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. For the purpose of this policy, “smoking” includes such tobacco products as cigarettes, cigars, and pipes, as well as the use of e-cigarettes, regardless of whether they include tobacco. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skate- boards, hoverboards, weapons (except for on-duty security officers), drones, and other similar unmanned aircraft are prohibited from the Tanglewood grounds. Patrons are permitted to use small, open-sided canopies in designated areas of the lawn provided that they do not penetrate grounds infrastructure and do not unreasonably obstruct the view of other lawn patrons. Ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert; during Shed concerts, children may play ball only in designated areas around the Visitor Center and in the Apple Tree lot near Ozawa Hall, but only if such activity does not disturb performances, rehearsals, or patrons sitting on the lawn. Shirts and shoes must be worn inside concert halls. No areas of the lawn may be cordoned off for any reason. Please also note that patrons assume responsibility for properly securing their lawn equipment, and for any damages to persons or property arising from the use of such equipment at Tanglewood. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all other texting and electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, we reserve the right to inspect all bags, purses, backpacks, and other items brought onto the Tanglewood grounds. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Welcome Center (Main Gate), Visitor Center (Tappan Manor House), and the new Linde Center for Music and Learning, as well as at the Bernstein Gate, Highwood Gate, and Lions Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10am-6pm Monday through Friday (extended through intermission on concert evenings); Saturday from 9am through intermission of the evening concert; and Sunday from 10am through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10am-5pm. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 888-266-1200 or in Boston at 617-266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or online. TANGLEWOOD.ORG provides up-to-date information on all Boston Symphony Orchestra and Tanglewood Music Center activities at Tanglewood. TLI.ORG provides information about Tanglewood Learning Institute activities. The free BSO APP is available from Google Play on Android devices and from the App Store on Apple devices. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate, Ozawa Hall, and the Linde Center for Music and Learning. Wheelchair service is available at the Main Gate, Ozawa Hall, and Linde Center, and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available at the Koussevitzky Music Shed, Seiji Ozawa Hall, and the Linde Center; please speak to an usher. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, Cindy’s Café at the new Linde Center for Music and Learning, and at other locations as noted on the map. Cindy’s Café is open Sundays-Fridays from noon-2:30pm and evenings when there is a concert in Ozawa Hall. The Tanglewood Café is open on Saturdays from 9am-2:30pm; on Shed concert evenings Fridays and Saturdays through intermission; and on Sundays from noon through intermission. The Tanglewood Grille, Shed Snack Bar, and Shed Beer Garden are open through intermission when Tanglewood is open for Shed concerts. The Ozawa Snack Bar is open when the grounds are open for Ozawa Hall concerts. Highwood Manor House is open prior to BSO concerts for dinner on Friday and Saturday, and for Sunday brunch; please call 413-637-4486 for reservations at least 48 hours in advance. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered by calling 413-637-5152, or visit tanglewood.org/dining for online ordering or more details. LAWN TICKETS: Undated lawn tickets for Tanglewood concerts may be purchased in advance at the Tanglewood box office. Lawn Pass Books offer eleven tickets for the price of ten. Note that these tickets are not valid for Popular Artists or Tanglewood Learning Institute events. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of BSO and Pops concerts, and Ozawa Hall recitals, children age seventeen and younger are offered special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. For Popular Artists concerts, free lawn tickets are available only for children under age 2. KIDS’ CORNER, where children accompanied by adults may take part in musical and crafts activities supervised by BSO staff, is offered at 9:30 a.m. on Saturdays and noon on Sundays. Further information about Kids’ Corner is available at the Tanglewood Visitor Center. Tickets to the Sunday concert or Saturday-Morning Rehearsal are required. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $34 (front and boxes) and $24 (rear); lawn tickets are $14. A half-hour Pre-Rehearsal Talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS, which remain open during performances, sell adult and children’s leisure clothing, accessories, posters, stationery, CDs, and gift items. Glass House Main Gate is open Monday-Thursday from 10am-4pm; Friday from 10am until 30 minutes after the evening concert; Saturday from 9am until 30 minutes after the evening concert; and Sunday from 12 noon-5pm. Glass House Highwood Gate is open Friday from 5:30pm through post-concert; during the Saturday-Morning Rehearsals and Saturday evenings from 5:30pm until after the evening concert; Sunday from 12 noon- 5pm; and on Ozawa Hall concert evenings through intermission. THE BSO FREQUENTLY RECORDS CONCERTS or portions of concerts via hand-held or robotic cameras for archival and promotional purposes. Please be aware that your presence at Tanglewood acknowledges your consent to such photography, filming, and recording for possible use in any and all media. TANGLEWOOD HAS A ZERO TOLERANCE POLICY for harassment of any kind, including but not limited to race, national origin, gender, gender identity, gender presentation, sexual orientation, age, disability, religion, and citizenship. Harassment includes but is not limited to stalking, verbal or physical intimidation, offensive verbal comments, physical assault and/or battery, inappropriate physical contact, and unwelcome physical attention. If you are made to feel uncomfortable or unsafe, please immediately report any concerns to Tanglewood staff or security personnel so appropriate action can be taken.

Boston Symphony Orchestra Tanglewood 2019

ANDRIS NELSONS BERNARD HAITINK SEIJI OZAWA THOMAS ADÈS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Music Director Conductor Emeritus Edmundson Artistic Partner endowed in perpetuity endowed in perpetuity THOMAS WILKINS Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons led the BSO in fourteen wide-ranging subscription programs in 2018-19 at Symphony Hall in Boston, repeating two of them at New York’s Carnegie Hall. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. He and the BSO have made three European tours together, in 2015, 2016, and 2018. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, Maestro Nelsons became Gewandhau- skapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings the BSO and Gewandhaus Orchestra together for a unique multi-dimensional alliance. The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon (photo by Marco Borggreve) of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic. The 2018-19 season marks Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Phil- harmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orches- tra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian

National Opera Orchestra before study- At Tanglewood in 2014 (Marco Borggreve) ing conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. A Brief History of the Boston Symphony Orchestra

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, intro- duced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in TMC faculty members Aaron Copland and Leonard Bernstein 1969 by William Steinberg. seated with Serge Koussevitzky during a Berkshire Music Center Seiji Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle wood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

YOU DON’T HAVE TO STAY TO GET AWAY The Courtyard at The Red Lion Inn is one of the Berkshires’ true summer pleasures. Whether you’re a guest, or live around the corner, the flower-filled, casual dining spot offers you a taste of the region’s favorite season. The menu features al fresco dining with traditional Red Lion favorites, as well as seasonal specialties. So why not laze away a sun-drenched afternoon under an umbrella? Or spend your evening sipping on a drink and star gazing? The Courtyard is the perfect haven from the everyday world. Open June through September.

30 Main Street, Stockbridge redlioninn.com Illustration by Ryan McMenamy

C+I 2019 studs.indd 5 8/29/19 12:16 PM C+I 2019 studs.indd 6 8/29/19 12:16 PM JUNE 8 THROUGH SEPTEMBER 22 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 (detail), c. 1883-84. Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim,

RENOIR Seated Bather THE BODY, THE SENSES Pierre-Auguste Renoir,

Renoir: The Body, The Senses is organized by the Clark Art Institute, Williamstown, Massachusetts, and the Kimbell Art Museum, Fort Worth, Texas. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Clark’s summer 2019 exhibitions Williamstown, Massachusetts and programs are made possible in part by generous support from Denise Littleﬁeld Sobel. Presentation of Renoir: The Body, The Senses at the Clark is generously supported by Robert and Martha Berman Lipp, Acquavella Galleries, and the Robert Lehman Foundation. clarkart.edu

C+I 2019 studs.indd 7 8/29/19 12:16 PM News that makes you think.

wgbhnews.org

C+I 2019 studs.indd 8 8/29/19 12:16 PM Table of Contents

Friday, August 23, 6pm (Prelude Concert) 2 TANGLEWOOD FESTIVAL CHORUS JAMES BURTON, conductor Music of Bruckner, Wolf, Schütz, Mendelssohn, Bach, and Schoenberg

Friday, August 23, 8pm 11 BOSTON SYMPHONY ORCHESTRA YU-AN CHANG, conductor CONRAD TAO, piano Music of Mendelssohn, Ravel, and Schubert

Saturday, August 24, 8pm 18 BOSTON POPS ESPLANADE ORCHESTRA JOHN WILLIAMS, host DAVID NEWMAN, conductor “John Williams’ Film Night”

Sunday, August 25, 2:30pm 27 BOSTON SYMPHONY ORCHESTRA GIANCARLO GUERRERO and JAMES BURTON, conductors NICOLE CABELL, J’NAI BRIDGES, NICHOLAS PHAN, and MORRIS ROBINSON, vocal soloists TANGLEWOOD FESTIVAL CHORUS Music of Schoenberg and Beethoven

Saturday-Morning Open Rehearsal Speakers July 13 and 27; August 10 and 24—Marc Mandel, BSO Director of Program Publications July 6 and 20; August 3 and 17—Robert Kirzinger, BSO Associate Director of Program Publications

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

TANGLEWOOD WEEK 8 TABLE OF CONTENTS 1 2019 Tanglewood

Prelude Concert Friday, August 23, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

TANGLEWOOD FESTIVAL CHORUS JAMES BURTON, conductor with IAN WATSON, organ (Schütz; Bach)

BRUCKNER “Locus iste”

WOLF “Resignation,” from “Sechs geistliche Lieder”

SCHÜTZ “So fahr ich hin zu Jesu Christ” SCHÜTZ “Selig sind die Toten” SCHÜTZ Psalm 100, “Jauchzet dem Herrn”

MENDELSSOHN Psalm 43, “Richte mich, Gott,” Opus 78, No. 2

J.S. BACH “Komm, Jesu, komm,” Motet, BWV 229

SCHOENBERG “Friede auf Erden,” Opus 13

Please note that texts and translations are being distributed separately.

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

Piano by Steinway & Sons – the Artistic Choice of Tanglewood Special thanks to Commonwealth Worldwide Executive Transportation In consideration of the artists and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

2 NOTES ON THE PROGRAM

ANTON BRUCKNER (1824-96), the great symphonist, was also an organist and ardent contrapuntalist. His work as a cathedral organist in Linz, Austria, along with his love of choral music, led him to compose numerous sacred works for accompanied and for a cappella choirs, including several masses, psalm settings, and motets. Having taken up the Linz position in 1855, he remained for thirteen years, leaving only in 1868 to take a prominent post as professor of counterpoint at the Vienna Conservatory. He still kept in touch with his former life, however. He wrote the gradual “Locus iste” for a cappella mixed chorus for the dedication of the votive chapel in Linz’s new cathedral in 1869.

HUGO WOLF (1860-1903) grew up in an environment in which his earliest compositional efforts were performed by friends and extended family. In addition to performances of instrumental music, Wolf was able to hear choral pieces as well, sung at the family home at Windischgraz, Styria (now Slovenj Gradec, in Slovenia). His Romantic inclinations led him to poetry, and he was to become the most proliﬁc and sensitive composer of art songs of his generation. At ﬁfteen he moved to Vienna to attend the city’s conservatory (where he became friendly with another student, Gustav Mahler). He was dismissed from the conservatory in 1877 for disciplinary reasons and after a few months at home returned to Vienna, where he chafed at teaching music to the children of well-to-do Viennese families. His ill-considered relationship with a relative of one of these families, Vally Franck, and its end in spring 1881 may have been an impetus for the subdued but questing Sechs geistliche Lieder, unaccompanied choral settings of poems by Joseph von Eichendorff (1788-1857). “Resignation,” the third of these, depicts a weary traveler calling for night to arrive and grant him rest and peace. The song is nearly a chorale; the text is set mostly homophonically, with chromatic passing-tones enriching the harmony and texture.

HEINRICH SCHÜTZ (1585-1672) is universally recognized as the greatest of 17th-century German composers. Born in Saxony some fifty miles from Leipzig, he trained in Kassel in Hesse and with the aging Giovanni Gabrieli in Venice, remaining there some four years and returning north only after the master’s death in 1612. The Elector Johann Georg I of Saxony brought him to Dresden, where he became Hofkapellmeister in 1621. In the late 1620s Schütz made a further trip to Italy, where he worked with Claudio Monteverdi. Schütz’s assimilation of fresh Italian ideas and genres was a key factor in enlivening German traditions. Temporary posts outside Dresden helped to disseminate his more than 500 pieces, ranging from motets to Passion settings and secular drama. “So fahr ich hin zu Jesu Christ” (“So I go to Jesus Christ”) and “Selig sind die Toten” (“Blessed are the dead”) both come from the Geistliche Chormusik (published 1648), twenty-nine a cappella motets for five to seven voice parts. Both settings are highly contrapuntal and relatively sedate. So fahr ich hin (SSATB; from a poem by Nikolaus Hermann) takes on the calm restfulness of its text, e.g., “I sleep, and rest easy”; it animates somewhat with the second half, “No man can wake me.” Note the wonderful sonic detail of the rhythm of the “s” sounds in Selig sind die Toten (SSATTB, from Revelation), especially in the repeat of the first phrase of text. Madrigal-like text-setting includes the majesty of “Ja, der Geist spricht” (“Yes, the spirit says”) and the busy imitative texture of “their works.” The celebratory, double- chorus “Jauchzet dem Herrn” (“Make a joyful noise unto the Lord,” based on Psalm 100) is an early work, published in Dresden in 1619 as part of a collection of “Psalms

TANGLEWOOD WEEK 8 PRELUDE PROGRAM 3 4 of David.” The swing between dance-like triple-meter music and duple meter under- lines the intent of the text.

When he wrote the three a cappella double-chorus psalm settings of his Opus 78, FELIX MENDELSSOHN (1809-1847) was the recently appointed Kapellmeister in Berlin, a position given to him by Friedrich Wilhelm IV, King of Prussia. The composer had been a beloved central ﬁgure in the musical life of nearby Leipzig since 1835, and the king hoped for a similar revitalization of Berlin’s arts life. After some years of overlapping duties, he moved permanently to Berlin in late 1943, where he immersed himself in preparing new music for the Berlin Cathedral. He wrote the a cappella, double-chorus psalm settings Opus 78, nos. 2 and 3 for Easter season 1844. No. 2, “Richte mich, Gott” (“Vindicate me, God”), sets Psalm 43, which implores God to defend the singer against his enemies. The setting opposes the severe music of the ﬁrst verses with the open, broad passages setting “Send me your light” and “Put your hope in God.”

Although motets were still being composed in 1720s Germany, the form was considered somewhat archaic even though 16th-century motets were still regularly performed to open Lutheran services. J.S. BACH (1685-1750), a master of virtually all genres past and contemporary, wrote independent motets as well as motet movements for many of his cantatas. The motet “Komm, Jesu, komm” sets two verses of a poem by Paul Thymich (1656-94), who had taught at the Leipzig Thomasschule in the generation before Bach. The poem, written in 1684 as a funeral aria for St. Thomas’s rector, is a first-person prayer of resignation at the end of life and the anticipation of spiritual deliverance to Jesus Christ. It references the biblical verse John 14:6—“I am the way and the truth and the life. No one comes to the Father except through me.” The two choral groups deliver the text antiphonally, as though in dialog, phrase by phrase or even occasionally word by word, as in “Komm, komm” at the start. The setting is otherwise flowing, with an uptick of energy at the third line, “My strength declines” within the first verse. The second block of text, “Come, come, I yield myself to thee” is brighter, moving from the 3/2 of the first verse to 4/4 time for the first two lines. The extended setting of the second two lines is in 6/8 and features highly melismatic (that is, strings of pitches sung to one syllable of text), flowing, almost instrumental textures. The final verse, “Therefore I put myself into Thy hands,” is dispatched quickly in a chorale setting.

ARNOLD SCHOENBERG’s unaccompanied choral work “Friede auf Erden” (“Peace on Earth”) dates from 1907, the end of the composer’s ﬁrst, “late-Romantic” period; sketches from 1906 are concurrent with those for his Second String Quartet. Although this comparatively early choral piece is tonal, the choruses to which Schoenberg then had access still found the work too challenging to perform. He ultimately wrote an instrumental accompaniment for the piece to make it more

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

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES 5 practical, but this was met with little success when it was ﬁrst performed in Vienna in 1911. Only later, under the direction of his pupil Anton Webern in the late 1920s, did it begin to receive suitable performances. In the meantime, Schoenberg had essentially given up writing for a cappella chorus. With its clear counterpoint and ﬂowing lines, this setting’s arching, dramatic structure has less in common with the music of his older contemporary Richard Strauss than with Johannes Brahms, two generations older. The smooth part-writing follows rules dating back to the Renaissance, though the chromatically tonal harmonic language is current with Schoenberg’s own time. The text is an 1886 Christmastime poem by the Swiss poet Conrad Ferdinand Meyer, and represents a pastoral, willfully naïve prediction for a better future.

ROBERT KIRZINGER Composer/annotator Robert Kirzinger is Associate Director of Program Publications of the Boston Symphony Orchestra.

Artists

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In Feb- ruary 2017, following appearances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director. He occupies the Alan J. and Suzanne W. Dworsky Chair on the Boston Symphony Orchestra roster. This summer, in addition to its annual Friday Prelude concert in Ozawa Hall (August 23), the Tanglewood Festival Chorus joins the BSO for performances of Verdi’s Requiem (July 13), Shostakovich’s

6 Symphony No. 2 and Ravel’s complete Daphnis et Chloé (July 26), and, in this summer’s final BSO concert, Schoenberg’s Friede auf Erden and Beethoven’s Symphony No. 9 (August 25). The chorus also participates this summer in the annual “John Williams’ Film Night” (August 24). Though first established for performances at the BSO’s summer home, the Tangle- wood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall; the ensemble now performs year-round with the Boston Symphony and Boston Pops. It has performed with the BSO on tour in Hong Kong and Japan, and on two European tours, also giving a cappella concerts of its own on those two occasions. The TFC made its debut in April 1970 at Symphony Hall, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with Seiji Ozawa, Bernard Haitink, James Levine, Leonard Bernstein, Sir Colin Davis, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music marking the TFC’s 40th anniversary; Ravel’s complete Daphnis et Chloé (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). On July 4, 2018, the Tanglewood Festival Chorus joined Keith Lockhart for the “Boston Pops Fireworks Spectacular” on the Charles River Esplanade. Besides their work with the BSO, TFC members have also performed with Zubin Mehta and the Israel Philharmonic and in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area and beyond to sing with the chorus in Boston and at Tanglewood. For more information about the Tanglewood Festival Chorus and upcoming auditions, please visit www.bso.org/tfc.

James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the newly created position of BSO Choral Director, in February 2017. He made his BSO subscription-series conducting debut in October 2018, leading the Tangle- wood Festival Chorus in Maija Einfelde’s Lux aeterna. Born in London, Mr. Burton holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He began his training at the Choir of Westminster Abbey, where he became head chorister, and was a choral scholar at St. John’s College, Cambridge. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. He made his debut with the Boston Pops in December 2017, returned to the Pops podium last December, and led the Pops at Tanglewood this past June in a program celebrating Queen with Marc Martel. Last month, Mr. Burton conducted the Boston

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES 7 Symphony Children’s Choir and Boston Symphony Orchestra in the world premiere of his The Lost Words, as part of this summer’s gala Tanglewood on Parade concert. Opera credits include performances at English National Opera, English Touring Opera, Garsington Opera, and the Prague Summer Nights Festival, and he has served on the music staff of the Metropolitan Opera and Opéra de Paris. Mr. Burton’s extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed in the inaugural season of Dubai’s Opera House in 2017. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He was music director of Schola Cantorum of Oxford from 2002 to 2017. Mr. Burton is well known for his inspirational work with young musicians. In 2017 he was director of the National Youth Choir of Japan. In 2018 he founded the Boston Symphony Children’s Choir. Mr. Burton has given conducting master classes at the Royal Academy of Music in London and at the Tanglewood Music Center, and founded a scholarship for young conductors at Oxford. His growing composition portfolio includes works for commis- sioners including the National Portrait Gallery in London, the 2010 World Equestrian Games, the Choir of St. John’s College, Cambridge, and the Exon Festival, where he was composer-in-residence in 2015. His works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.

8 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder (Friday Prelude Concert of August 23, 2019)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years, and + denotes chorus members singing in the entire program, who are then joined by the others listed for the ﬁnal piece, Schoenberg’s Friede auf Erde. Sopranos

Michele Bergonzi * • Catherine C. Cave # + • Tori Lynn Cook + • Emily Cotten • Farah Darliette Lewis • Emilia DiCola • Sarah Evans • Mary A.V. Feldman * • Katherine Barrett Foley + • Diana Gamet + • Hannah Grube • Ashley Gryta + • Cynde Hartman • Alyssa Hensel • Polina Dimitrova Kehayova • Donna Kim # + • Greta Koning • Lizabeth Malanga + • Lisa Nielsen • Laurie Stewart Otten • Kimberly Pearson • Sydney Penny • Avery Peterman + • Laura Stanﬁeld Prichard • Livia M. Racz # • Johanna Schlegel + • Pamela Schweppe # • Judy Stafford • Sarah Telford # + • Nora Anne Watson • Alison L. Weaver + • Sarah Wesley • Susan Glazer Yospin

Mezzo-Sopranos

Virginia Bailey + • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Sarah Cohan • Abbe Dalton Clark • Olivia de Geofroy + • Melanie Donnelly + • Debra Swartz Foote • Amy Spound Friedman • Irene Gilbride * • Reed Gochberg • Olivia Marie Goliger • Lianne Goodwin • Susan Harris • Susan L. Kendall • Annie Kim • Clara H. Kim • Yoo-Kyung Kim • Nora Kory + • Sarah Labrie + • Gale Tolman Livingston * • Kristen McEntee • Molly McGuire + • Ana Morel • Louise Morrish • Tracy Elissa Nadolny + • Kendra Nutting + • Fumiko Ohara * • Andrea Okerholm Huttlin • Hana Omori • Roslyn Pedlar # • Ada Park Snider § • Julie Steinhilber * • Lelia Tenreyro-Viana • Christina Wallace Cooper # + • Marguerite Weidknecht # • Karen Thomas Wilcox + • Janet Wolfe

Tenors

Brad W. Amidon # • Armen Babikyan • Quincy Cason + • Stephen Chrzan + • Andrew Crain # • John Cunningham + • Tom Dinger • Carey D. Erdman • Keith Erskine • Len Giambrone • David J. Heid + • Timothy O. Jarrett • Lance Levine • Daniel Mahoney + • Mark Mulligan + • David Norris * • Adam Ouellet • Dwight E. Porter § • Guy F. Pugh • Peter Pulsifer • Miguel A. Rodriguez • Arend Sluis • Stratton Vitikos • Joseph Y. Wang + • Hyun Yong Woo + • Eytan Wurman Basses

Scott Barton • Eric Chan + • William Farrell + • Jim Gordon • Jeramie D. Hammond • David M. Kilroy • Paul A. Knaplund • Will Koffel + • Bruce Kozuma # + • Carl Kraenzel • Timothy Lanagan # + • Frank S. Li • Dan Ludden • Greg Mancusi-Ungaro # • Donald R. Peck # • Michael Prichard # • Nate Ramsayer • Steven Rogers • Peter Rothstein § • Andrew Scoglio + • Kenneth D. Silber + • Charles Sullivan • Stephen Tinkham • Samuel Truesdell • Yen Kuei (Peter) Tu + • Jonathan VanderWoude + • Peter J. Wender § • Lawson L.S. Wong +

Ian Watson, Rehearsal Pianist Brett Hodgdon, Rehearsal Pianist Pamela Dellal, German Diction Coach Jennifer Dilzell, Senior Manager of Choruses Kimberly Ho, Assistant Manager of Choruses Micah Brightwell, Coordinator

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES 9 The Peggy Reiser and Charles Cooney Concert Friday, August 23, 2019 The performance on Friday evening is supported by a generous gift from BSO Advisor Emeritus Dr. Charles L. Cooney and his wife, Peggy Reiser. Charlie and Peggy have attended concerts at both Symphony Hall and Tanglewood for nearly four decades. They began their BSO subscription in 1980. The couple joined the orchestra on the European Tour in summer 2015 and the Canadian Tour in March 2017. Charlie and Peggy are longtime supporters of the Tanglewood and Symphony Annual Funds. In addition to supporting the annual funds, they have generously supported the Tanglewood Forever Fund, the Immediate Impacts Funds, and the Symphony and Tanglewood galas. Charlie was elected to the BSO Board of Overseers in 2004 and was elevated to Overseer Emeritus in 2016. He was previously a member of the Overseers Nominating Committee and Leadership Gifts Committee. Charlie and Peggy have served on the Tanglewood Gala Benefactor Committee for several years. Charlie is the Robert T. Haslam Professor of Chemical Engineering, Emeritus at the Massachusetts Institute of Technology (MIT). He joined the faculty at MIT in 1970; he was the founding faculty director of the Deshpande Center for Technological Innovation, executive ofﬁcer of the Department of Chemical Engineering, and co-director of the Sloan Foundation Program on the Pharmaceutical Industry at MIT, among other roles. Charlie has published extensively in his ﬁeld of biochemical engineering, and has worked with many small and large biotechnology, pharmaceutical, and chemical companies as a consultant and/or board member. Peggy is a licensed independent clinical social worker who focuses on child adolescent mental health. She has a Ph.D. in social policy and planning, and has served on the boards of social service organizations serving children and families. She is active in her church and garden club and is chair of the Boston Committee of the Garden Club of America. Peggy has also been an active board member of the Stockbridge Bowl Association and an overseer of the Boston Ballet, where Charlie is a trustee emeritus. To quote Charlie and Peggy, “We enjoy attending concerts at Symphony Hall in Boston, one of the great halls in the world, but see the opportunity to hear this world-class orchestra in the bucolic setting that is Tanglewood as a rare privilege.” Stu Rosner

10 2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019

Friday, August 23, 8pm THE PEGGY REISER AND CHARLES COONEY CONCERT

YU-AN CHANG conducting

MENDELSSOHN Overture to “A Midsummer Night’s Dream,” Opus 21

RAVEL Piano Concerto in G Allegramente Adagio assai Presto CONRAD TAO

We are grateful that Conrad Tao was available to perform Ravel’s Piano Concerto in G in place of Ingrid Fliter, whose doctors recommended that she not ﬂy during her pregnancy.

{Intermission}

SCHUBERT Symphony No. 2 in B-ﬂat, D.125 Largo—Allegro vivace Andante Allegro vivace Presto

The performance of Mendelssohn’s Overture to “A Midsummer Night’s Dream” is supported by a gift from Kate and Hans Morris.

TANGLEWOOD WEEK 8 FRIDAY PROGRAM 11 NOTES ON THE PROGRAM

Felix Mendelssohn (1809-1847) Overture to “A Midsummer Night’s Dream,” Opus 21 First performance of the overture: April 29, 1827, in Stettin, Carl Loewe cond. First BSO performances: February 1883, Georg Henschel cond. First Tanglewood performance: August 10, 1963, Erich Leinsdorf cond. Most recent Tanglewood performance: August 5, 2017, Hans Graf cond., opening a theatrical adaptation by Bill Barclay of “A Mid- summer Night’s Dream” using Mendelssohn’s complete incidental music (the overture by itself having most recently been played by the BSO at Tanglewood on August 21, 2010, Susanna Mälkki cond.). Berlin in the 1820s was a populous, densely packed city with few open spaces, “a city without lungs,” wrote the art historian Karl Schefﬂer. Abraham Men- delssohn, father of Felix and a wealthy banker, was one of those who could afford to live beyond the city gates, where the open country made life more pleasant. The Mendelssohn home was a mansion, a small palace really, set on ten verdant acres. The residence boasted a hall for theatrical productions, while the garden house was arranged so that its large interior could be used for concerts with an audience of several hundred. There were, in fact, regular Sunday-afternoon musicales in the Mendelssohn household, with Felix and his older sister, Fanny, being regular participants. Also on the grounds was a beau- tiful garden, a magical place for young Felix, where the warm days of summer were spent reading and dreaming. In later years, he told his friend the English composer William Sterndale Bennett about an evening in July 1826, “It was in that garden one night that I encountered Shakespeare.”

12 The seventeen-year-old Felix particularly enjoyed the wondrous fantasy world of A Midsummer Night’s Dream, and plans for a work inspired by the play began to stir in his imagination. Early in July, he wrote in a letter, “I have grown accustomed to composing in our garden. Today or tomorrow I am going to dream there [the music to accompany] A Midsummer’s Night’s Dream. This is, however, an enormous audacity...” Within a few days, however, he had embarked on his “audacity” and was writing an overture to the play. By August 6th, the work was done. On November 19th, Felix and Fanny played the original piano duet version of the score on one of their Sunday musicales, and a private orchestral performance followed before the end of the year. In February, the work was ﬁrst played publicly in Stettin. It immediately garnered a success that has never waned. The Overture to A Midsummer Night’s Dream is the greatest piece of orchestral music ever composed by one so young, including Mozart and Schubert. Woven into its sonata form are thematic representations of the woodland sprites, the shimmering light through forest leaves, the sweet sighs of the lovers, even the “ee-ah” braying of that memorable rustic, Bottom, when he is turned into an ass. In matters of formal construction, orchestral color, and artistic polish, this overture is, quite simply, a masterpiece.

Maurice Ravel (1875-1937) Piano Concerto in G

First performance: January 14, 1932, Paris, Ravel cond., Marguerite Long, soloist. First BSO performance: April 22, 1932, Serge Koussevitzky cond., Jesús María Sanromá, soloist. First Tanglewood performance: August 6, 1950, Leonard Bernstein, cond. and soloist. Most recent Tanglewood performance: July 17, 2016, Gustavo Gimeno cond., Yuja Wang, soloist. At about the same time that Paul Wittgenstein, a concert pianist who had lost his right arm during World War I, asked Ravel if he would write a concerto for him, Ravel’s longtime interpreter Marguerite Long asked for a concerto for herself. Thus, although he had written no piano music for a dozen years, he found himself in 1930 writing two concertos more or less simultaneously. The concerto for the left hand turned out to be one of his most serious compositions, but the G major concerto, dedicated to and first performed by Madame Long, falls into the delightful category of high-quality diversion. Ravel’s favorite term of praise was divertissement de luxe, and he succeeded in producing just such a piece with this concerto. The motoric high jinks of the first movement are set off by the cracking of a whip, though they occasionally yield to lyric contemplation. The second movement is a total contrast, hushed and calm, with a tune widely regarded as one of the loveliest melodies Ravel ever wrote. The effort cost him dearly, and it may have been here that he first realized that his powers of composition were failing; they broke down completely in 1932, when the shock of an automobile collision brought on a ner- vous breakdown, and he found himself thereafter incapable of sustained work. For this concerto, he found it necessary to write the Adagio assai one or two measures at a time. The final Presto brings back the rushing motor rhythms of the opening, and both movements now and then bear witness that Ravel had traveled in America and

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES 13 had become acquainted with jazz and recent popular music. He also met George Gershwin and told him that he thought highly of his Rhapsody in Blue; perhaps it is a reminiscence of that score that can be heard in some of the “blue” passages here and there.

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

Franz Schubert (1797-1828) Symphony No. 2 in B-flat, D.125 First public performance: October 20, 1877, Crystal Palace, London, August Manns cond. First BSO performance: December 20, 1944, Dimitri Mitropoulos cond. First Tanglewood performance: August 11, 1949, Leonard Bernstein cond. Most recent Tangle- wood performance by the BSO: July 21, 1985, Charles Dutoit cond. Schubert began his Symphony No. 2 on December 10, 1814, and finished it on March 14, 1815. It may have been given a reading, soon after that, by the orchestra of the Vienna seminary where Schubert had been a student and to whose director he dedicated the manuscript score. It was likely performed privately, too, by an amateur orchestra that had grown out of the Schubert family string quartet; but the first public performance came only in October 1877, under the direction of August Manns, conducting from manuscript, in Lon- don, on which occasion a newspaper reported that it was being “produced probably for the very first time since its birth.” Of the fourteen children born to Schubert’s parents, four besides himself survived: three elder brothers, Ignaz, Ferdinand, and Karl, and a younger sister, Maria Theresa, born when Franz was four. Schubert’s early musical training came at home. Ignaz gave him his first piano lessons, and his father taught him violin. In the family string quartet, Ignaz and Ferdinand played violin, his father cello, and Franz viola. Like his brothers, Schubert was sent to Michael Holzer, organist of the Liechtental parish church, for lessons in voice, organ, and counterpoint. Holzer recognized the boy’s abilities and later recalled that “if I wished to instruct

Did you attend the BSO’s Days in the Arts (DARTS) summer program in the past 50 years (since 1968)? The Boston Symphony Orchestra and the Heller School at Brandeis University are conducting an impact study of DARTS and would love to hear from you! Please register for a brief survey about your program experience by using the QR code on the right OR at the URL below. http://cyc.brandeis.edu/DARTS.html

14 him in anything fresh, he already knew it. Consequently I gave him no actual training but merely talked to him, and watched with silent astonishment.” At eleven, Schubert was accepted as a chorister in the Imperial court chapel and took up residence at the Stadtkonvikt, a communal boarding home which also housed the Choir School. There he sang and studied under the direction of Hofkapellmeister Antonio Salieri, who, while giving the boy a firm grounding in compositional practice, also did his best to discourage Franz’s leanings toward German poetry and to expunge the language of Haydn and Mozart from the boy’s musical vocabulary. There, too, he played in the school orchestra as first violinist and was occasionally trusted to lead rehearsals; the repertory regularly included symphonies of Haydn and Mozart, Beethoven’s first two symphonies, and overtures, as well as music of other composers. It was this orchestra that first played Schubert’s D major symphony, his First, which he completed in October 1813. Schubert’s voice changed when he was fifteen, ending his time as a chorister, and he left the Stadtkonvikt shortly afterwards. He spent a year training as a teacher, in accordance with his father’s wishes, and then assisted at his father’s school. The hours spent in front of the classroom were not happy, and Schubert was apparently a strict disciplinarian—especially when distracted from the musical ideas running through his head. In 1818 he gave up teaching altogether, breaking completely with convention and choosing the bohemian life we know from the anecdotes, but by this time he had managed to compose hundreds of songs (including Gretchen am Spinnrade and Erlkönig, written when he was seventeen and eighteen, respectively), works for stage, church, and chamber ensemble, and five symphonies. Though it was only toward the end of his life that he would begin to develop a reputation outside his own circle and only well after his death that his real importance would be recognized, his course was set. Though the practice of comparing one composer’s music to another can be both dangerous and misleading, one does hear something of Mozart, Haydn, and Beethoven in Schubert’s Second: Mozart in the first movement’s lyric second theme and in the minor-mode third movement; Haydn in the variation scheme of the slow movement; and Beethoven in the fist-shaking gesture that is the first loud music to be heard in the finale. And there is certainly something about the sound of the orchestra in Schubert’s early symphonies that can suggest Haydn or Mozart, even if only because the size of the instrumental group is right. But this is momentary. Schubert’s own voice is immediately recognizable: the shape of the string phrases and the airiness of the wind writing in the opening measures of the piece are enough to convince. The first-movement Allegro is wonderfully buoyant and energetic; its characteristic Schubertian length grows naturally from the composer’s fashioning of thematic material. Even the lyric contrast midway through the exposition is provided with a backdrop of constant motion. The ease of the movement’s progress is also tied to Schubert’s use, again characteristic, of subdominant harmonies; there is a sense of relaxation and comfort even in passages of whirlwind activity. The second movement presents a deceptively simple E-flat major theme and five variations; the fourth of these, in C minor, prepares the way for the gruff third-movement minuet in that key. Schubert begins the finale seemingly in mid-thought. This movement, like the first, is all energy and motion, with lots of bounce thrown in for good measure.

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

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES 15 Guest Artists

Yu-An Chang Yu-An Chang became assistant conductor of the Boston Symphony Orchestra starting in the 2018-19 season. Born in Penghu, Taiwan, he launched his international career by winning ﬁrst prize at the Bucharest International Conducting Competition in 2016. He became music director and chief conductor of the Asia Nova Symphony Orchestra in 2016 and in 2009 founded the Youth Sinfonietta of Taipei, which he led until 2013. In 2011 he won a Bruno Walter Memorial Foundation conducting scholarship and was selected as the outstanding conductor at the Cabrillo Contemporary Music Festival, where he worked with Marin Alsop and Gustav Meier. In addition to his Meisterklasse conducting studies at the Hochschule für Musik Hanns Eisler in Berlin, he works regularly with orchestras in Germany (the Frankfurt Staatsorchester, Brandenburg Sinfoniker, and Konzerthausorchester Berlin), Hungary, Romania (the George Enescu Philharmonic), and Taiwan (the National Chinese Orchestra). Mr. Chang also devotes himself intensively to contemporary music and Asian traditional ensembles; he has worked on projects such as the German premiere of Tobias Broström’s percussion concerto Arena with the Konzerthaus Orchester Berlin in 2015, and he commissioned and premiered Chung-Yuan Yu’s Karma with the Taipei Chinese Orchestra in 2017. Since 2016, he and his wife KaiChuan have lived in Berlin. As a Tanglewood Music Center Conducting Fellow last summer, he was the recipient of the TMC’s Edward H. and Joyce Linde Fellowship, in which capacity he led performances with the Tanglewood Music Center Orchestra and during last summer’s Festival of Contemporary Music.

16 Conrad Tao Making his BSO and Tanglewood debuts this evening, Conrad Tao has appeared worldwide as a pianist and a composer. He is a recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist, the latter being an honor awarded every two years, highlighting the most promising American pianists of the new generation. Mr. Tao’s 2018-19 season began with the New York Phil- harmonic’s world premiere of his Everything Must Go, commissioned by that ensemble, and the inaugural concert of its curated late-night series, Nightcap. He also made his debuts with the Los Angeles Opera (in the west coast premiere of David Lang’s the loser), Los Angeles Philharmonic (performing Beethoven’s Piano Concerto No. 1), and Cleveland Orchestra at the Blossom Music Center. In Europe he was presented by the Swedish Radio Symphony in recital and in Andrew Norman’s Suspend under Susanna Mälkki; he also returned to the Orchestra dell’Accademia Nazionale di Santa Cecilia, performing with Antonio Pappano. In the 2019-20 season, Mr. Tao will be presented in recital by Carnegie Hall, performing works by David Lang, Bach, Julia Wolfe, Jason Eckhardt, Carter, Rachmaninoff, and Schumann. He will also make his Walt Disney Hall debut recital, as well as joining the Los Angeles Philharmonic in works by Aaron Copland and Frederic Rzewski. With the Cleveland Orchestra he will perform works by Mary Lou Williams and Ligeti, and improvisations with pianist Aaron Diehl. Concerto highlights in the upcoming season include performances of his own work for piano and orchestra, The Oneiroi in New York, with the Seattle Symphony, as well as performances with the Baltimore, Char- lotte, Phoenix, and Paciﬁc symphonies. He will also tour to college campuses across the country. Mr. Tao’s acclaimed evening-length collaboration with choreographer Caleb Teicher, More Forever, will be presented by the Celebrity Series of Boston and will have its west coast premiere at Segerstrom Hall in Orange County. His ongoing electroacoustic collaboration with improviser and vocalist Charmaine Lee continues with an opening-night performance at the 2019 Resonant Bodies Festival. In the spring, Mr. Tao will tour with the JCT Trio—his ensemble with violinist Stefan Jackiw and cellist Jay Campbell. He will also celebrate Stephen Sondheim’s 90th birthday at the 92nd Street Y with Anthony de Mare, premiering a new two-piano take on “Move On” from Sunday in the Park with George. A Warner Classics recording artist, Mr. Tao has released two acclaimed discs to date; his third, “Compassion,” featuring works by Rzewski, Copland, and Julia Wolfe, will be released this fall. Conrad Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis. BSO Archives

TANGLEWOOD WEEK 8 GUEST ARTISTS 17 2019 Tanglewood

BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART, Julian and Eunice Cohen Boston Pops Conductor JOHN WILLIAMS, George and Roberta Berry Boston Pops Conductor Laureate

Saturday, August 24, 8pm THE GEORGE AND ROBERTA BERRY CONCERT

JOHN WILLIAMS, host DAVID NEWMAN conducting

JOHN WILLIAMS’ FILM NIGHT

WHITING/arr. WILLIAMS Hooray for Hollywood

WILLIAMS “The Cowboys” Overture

WILLIAMS Two selections from “Jane Eyre” Reunion—To Thornﬁeld

WILLIAMS Marion’s Theme from “Raiders of the Lost Ark”

Celebrating Alfred Newman NEWMAN 20th Century Fox Fanfare NEWMAN Theme from “How the West Was Won” RODGERS The Carousel Waltz (ﬁlm orchestration supervised by Alfred Newman)

{Intermission}

18 WILLIAMS Theme from “Star Wars: Galaxy’s Edge”

Opening sequence from “E.T. The Extra-Terrestrial”

Excerpts from “Jurassic Park” Excerpts from “Saving Private Ryan” Dry Your Tears, Afrika, from “Amistad” TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor

Three Selections from “Star Wars” The Adventures of Han from “Solo: A Star Wars Story” Luke and Leia from “Return of the Jedi” Star Wars Main Title

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

The Boston Symphony Orchestra gratefully acknowledges the following for the use of the ﬁlm clips in this evening’s program: 20th Century Fox Image Entertainment Orion Pictures Amblin Entertainment Jon Kaplan Paramount Pictures Columbia Pictures Al Kaplan Sony Pictures Criterion Collection Lionsgate Films Universal Pictures DreamWorks Pictures Lucasﬁlm Ltd The Walt Disney Company Focus Features MGM Home Video Warner Home Video Hollywood Pictures

“Marion’s Theme,” “Hooray for Hollywood,” and “How the West Was Won” ﬁlm montages produced by Laura Gibson and edited by Scott Draper

“Saving Private Ryan” and “Jurassic Park” ﬁlm montages produced by Laura Gibson and edited by Adam Witt

Technical preparation of this evening’s ﬁlm clips by Ramiro Belgardt Kevin Toler

TANGLEWOOD WEEK 8 SATURDAY PROGRAM 19 John Williams’ Film Night at Tanglewood The George and Roberta Berry Concert Saturday, August 24, 2019 The Boston Pops performance on Saturday evening is supported by a generous gift from Roberta Berry, wife of the late George Berry, and her family. George was elected to the BSO Board of Overseers in 1998 and became an Overseer Emeritus in 2010. As BSO Great Benefactors, George and Roberta have contributed their time and resources to many parts of the BSO. They have generously supported the Annual Funds and Opening Nights at Symphony, Tanglewood, and the Pops, and are members of the Walter Piston Society. In addition to their annual support, George and Roberta have contributed to the endowment in support of the Artistic Initiative, the Tanglewood Music Center Opera Program, and the Tanglewood Forever Fund Initiative. They established the George and Roberta Berry Fund for Tanglewood and the George and Roberta Berry Fellowship at the Tanglewood Music Center, and they named the Boston Pops Conductor Laureate Chair held by John Williams and the Boston Pops Films in Concert Series for the 2016-17 and 2017-18 seasons. Along with Roberta, George was among the most devoted supporters of the Boston Pops. Growing up in Ohio, George’s ﬁrst exposure to orchestral music was through listening to recordings of Arthur Fiedler conducting the Pops. George attended Pops performances for more than forty years, and after he wooed her with a tour of Tanglewood, Roberta was by his side for nearly thirty of them. The Berrys brought their children, Matthew and Jonathan, to Pops concerts when Star Wars, E.T., and Raiders of the Lost Ark were blockbuster hits, and they continue to support the Pops’ tradition of performing movie music by naming a Film Night concert with John Williams each summer at Tanglewood. George and Roberta chaired Opening Night at Pops in 2002, and they served on many committees for Opening Night at Pops, Symphony, and Tanglewood, as well as the Tanglewood Wine Auction. In addition, the couple traveled with the orchestra on the 2007 European Festivals Tour and the 2014 Asia Tour.

A tangle of trafﬁc at the Main Gate of Tanglewood in the 1950s (BSO Archives)

20 Artists

John Williams In a career spanning six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage; he remains one of our nation’s most distinguished and contributive musical voices. In January 1980, Mr. Williams was named nineteenth conductor of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of George and Roberta Berry Boston Pops Conductor Laureate, which he assumed following his retirement in December 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood and maintains thriving artistic relationships with many of the world’s great orchestras. His forty-year artistic partnership with director Steven Spielberg has resulted in such acclaimed and successful films as Schindler’s List, E.T. The Ex- tra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Lincoln, Saving Private Ryan, and The Post. Mr. Williams also composed the scores for all of the Star Wars films, the first three Harry Potter films, and Superman, among many others. With five Academy Awards and 51 Oscar nominations, he is the Acad- emy’s most-nominated living person. For television, he wrote scores for many early anthology series and the themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and PBS’s Great Performances. His works for the concert stage include two symphonies, and concertos for violin, viola, cello, flute, oboe, clarinet, bassoon, horn, trumpet, tuba, and harp. Mr. Williams has composed music for many important cultural and commemorative events, including Liberty Fanfare for the rededication of the Statue of Liberty, American Journey for the “America’s Millennium” concert in Washington, D.C., and themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. John Williams is a recipient of the National Medal of Arts, the highest award given to artists by the United States government; the Olympic Order, the IOC’s highest honor; and the Kennedy Center Honor. He composed and arranged Air and Simple Gifts especially for the January 2009 inaugural ceremony of President Barack Obama. In June 2016 he received the 44th Life Achievement Award from the American Film Institute.

David Newman David Newman is one of today’s most accomplished creators of music for film. In his thirty-year career he has scored more than 110 films, ranging from War of the Roses, Matilda, Bowfinger, and Heathers to the more recent Five Flights Up and Serenity. His music has brought to life the critically acclaimed dramas Brokedown Palace and Hoffa; the top-grossing comedies Galaxy Quest and Throw Momma from the Train; and the award-winning animated films Ice Age, The Brave Little Toaster, and Anastasia. Mr. Newman earned an Academy Award nomination for his score to Anastasia and was the first composer to have a piece—1001 Nights — performed in the Los Angeles Philharmonic’s “Filmharmonic” series, conducted by Esa-Pekka Salonen. A highly sought-after conductor, Mr. Newman appears with leading orchestras throughout the world, including the New York Phil- harmonic, Los Angeles Philharmonic, Royal Philharmonic Orchestra, the Deutsches Symphonie-Orchester Berlin, the Schleswig-Holstein Festival Orchestra, San Diego Symphony, Boston Symphony Orchestra, Philadelphia Orchestra, and Cleveland Orchestra. In fall 2017, he conducted the world premiere of the screenings of the epic film series Star Wars (Episodes IV, V, VI, and VII) with the New York Philharmonic

TANGLEWOOD WEEK 8 ARTISTS 21 performing John Williams’s iconic scores. The son of nine-time Oscar-winning composer Alfred Newman and an active composer for the concert hall, David Newman has composed works that have been performed by the Los Angeles Philharmonic, Indianapolis Symphony, and Long Beach Symphony, as well as at the Ravinia Festival, Spoleto Festival USA, and Chicago’s Grant Park Music Festival. He also composed a violin-orchestra suite for Sarah Chang based on the songs from the Broadway hit West Side Story. Passionate about nurturing the next generation of musicians, Mr. Newman serves on the board of the American Youth Symphony, a pre-professional orchestra based in Los Angeles and active for over ﬁfty years, and in 2010 he served on the faculty of the Aspen Music Festival in the Film Scoring Program. David Newman has conducted the Boston Symphony Orchestra on three previous occasions, for screenings of West Side Story at Tanglewood in July 2013 and 2018 and at Symphony Hall in February 2014. His ﬁrst appearance with the Boston Pops was at Tanglewood in August 2013. Last month at Tanglewood, Mr. Newman shared the Boston Pops podium with John Williams to conduct “Across the Stars: Music of John Williams,” featuring violinist Anne-Sophie Mutter.

To read about the Tanglewood Festival Chorus and James Burton, see pages 6-8.

22 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder ( John Williams’ Film Night, Saturday, August 24, 2019)

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

Tori Lynn Cook • Emilia DiCola • Sarah Evans • Mary A.V. Feldman * • Katherine Barrett Foley • Diana Gamet • Hannah Grube • Ashley Gryta • Cynde Hartman • Alyssa Hensel • Polina Dimitrova Kehayova • Donna Kim # • Greta Koning • Sarah Labrie • Gale Tolman Livingston * • Lizabeth Malanga • Lisa Nielsen • Laurie Stewart Otten • Kimberly Pearson • Sydney Penny • Avery Peterman • Livia M. Racz # • Johanna Schlegel • Pamela Schweppe # • Sarah Telford # • Nora Anne Watson • Alison L. Weaver • Sarah Wesley • Janet Wolfe • Susan Glazer Yospin Mezzo-Sopranos

Virginia Bailey • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Sarah Cohan • Abbe Dalton Clark • Melanie Donnelly • Debra Swartz Foote • Amy Spound Friedman • Irene Gilbride * • Olivia Marie Goliger • Lianne Goodwin • Susan Harris • Susan L. Kendall • Annie Kim • Nora Kory • Kristen McEntee • Ana Morel • Louise Morrish • Kendra Nutting • Fumiko Ohara * • Andrea Okerholm Huttlin • Hana Omori • Roslyn Pedlar # • Ada Park Snider § • Julie Steinhilber * • Lelia Tenreyro-Viana • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Brad W. Amidon # • Armen Babikyan • Stephen Chrzan • Andrew Crain # • Carey D. Erdman • Keith Erskine • Len Giambrone • David J. Heid • Timothy O. Jarrett • Lance Levine • Daniel Mahoney • David Norris * • Dwight E. Porter § • Guy F. Pugh • Peter Pulsifer • Stratton Vitikos • Joseph Y. Wang • Hyun Yong Woo • Eytan Wurman Basses

Scott Barton • Eric Chan • William Farrell • Jim Gordon • David M. Kilroy • Paul A. Knaplund • Will Koffel • Bruce Kozuma # • Carl Kraenzel • Timothy Lanagan # • Frank S. Li • Greg Mancusi-Ungaro # • Nate Ramsayer • Steven Rogers • Peter Rothstein § • Kenneth D. Silber • Charles Sullivan • Stephen Tinkham • Samuel Truesdell • Yen Kuei (Peter) Tu • Lawson L.S. Wong

Ian Watson, Rehearsal Pianist Brett Hodgdon, Rehearsal Pianist Jennifer Dilzell, Senior Manager of Choruses Kimberly Ho, Assistant Manager of Choruses Micah Brightwell, Coordinator

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KEITH LOCKHART Cellos Trumpets Julian and Eunice Cohen Owen Young Thomas Siders Boston Pops Conductor, Mickey Katz Bruce Hall endowed in perpetuity Ronald Lowry Benjamin Wright Theresa Borsodi Michael Dobrinski William Rounds JOHN WILLIAMS Trombones George and Roberta Berry Eugene Kim Toby Oft Boston Pops Conductor Steven Laven Robert Mayes Stephen Lange Laureate Vicki Garcia Basses First Violins Bass Trombone Lawrence Wolfe Alexander Velinzon Benjamin Levy James Markey concertmaster Joseph Hearne Tuba Elita Kang Todd Seeber Mike Roylance Lucia Lin Thomas Van Dyck Valeria Kuchment Susan Hagen Timpani Bonnie Bewick Timothy Genis Tatiana Dimitriades Flutes James Cooke Linda Toote Percussion Si-Jing Huang Clint Foreman J. William Hudgins Xin Ding Richard Flanagan Piccolo Jason Horowitz Hans Morrison Glen Cherry Cynthia Meyers John Tanzer Ala Jojatu Oboes Harp Second Violins Keisuke Wakao Jessica Zhou Nicole Monahan Mark McEwen Keyboard Aza Raykhtsaum English Horn Vytas Baksys Lisa Ji Eun Kim Robert Sheena Caroline Pliszka Ben Cook Gerald Elias Clarinets Jenny Ahn Thomas Martin Librarians Kina Park Ian Greitzer D. Wilson Ochoa Lisa Crockett Bass Clarinet Paul Greitzer Chi Li Audrey Wright David Martins Orchestra Manager Bassoons and Director of Violas Orchestra Personnel Ronald Haroutunian Cathy Basrak Lynn G. Larsen Daniel Kim Lisa Chisholm Rebecca Gitter Contrabassoon Assistant Personnel Manager Michael Zaretsky Gregg Henegar Rebekah Edewards Andrew Tremblay Horns Leah Ferguson Stage Manager Mary Ferrillo Richard Sebring John Demick Stephanie Fong Michael Winter Jason Snider Rachel Childers Stu Rosner

TANGLEWOOD WEEK 8 ARTISTS 25

2019 Tanglewood Boston Symphony Orchestra 138th season, 2018–2019 Sunday, August 25, 2:30pm BERT L. SMOKLER MEMORIAL CONCERT

GIANCARLO GUERRERO conducting (Beethoven) JAMES BURTON conducting (Schoenberg)

SCHOENBERG “Friede auf Erden,” Opus 13, for unaccompanied chorus TANGLEWOOD FESTIVAL CHORUS JAMES BURTON conducting Text and translation are on page 29.

BEETHOVEN Symphony No. 9 in D minor, Opus 125 Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I—Presto—Tempo I Adagio molto e cantabile—Andante moderato—Tempo I— Andante—Adagio Presto—Allegro ma non troppo—Vivace—Adagio cantabile— Allegro moderato—Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alla Marcia—Andante maestoso— Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto—Prestissimo GIANCARLO GUERRERO conducting NICOLE CABELL, soprano J’NAI BRIDGES, mezzo-soprano NICHOLAS PHAN, tenor MORRIS ROBINSON, bass TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor Text and translation begin on page 34.

Please note that there is no intermission in this concert.

This afternoon’s performance of Beethoven’s Symphony No. 9 is supported by a gift from The John and Zelda Schwebel Family Foundation in memory of John Schwebel. This afternoon’s performance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM 27 NOTES ON THE PROGRAM

Arnold Schoenberg “Friede auf Erden,” Opus 13 Arnold Schoenberg, who for many epitomizes the avant-garde iconoclast in music history, revered Brahms and thought of his own work as a continuation of the long Germanic musical tradition—even when he moved into free atonality and developed the seismically influential twelve-tone compositional technique around 1920. Schoenberg’s earliest mature scores included the colorful, lush, and intensely expressive late-Romantic string sextet/string orchestra piece Verklärte Nacht (“Transfigured Night”) and an orchestral tone poem based on Maeterlinck’s dreamy Pelléas et Mélisande, as well as much of the work on his vast orchestral cantata Gurrelieder (only completed in 1911). The chromatically saturated Chamber Symphony, Opus 9, and the Second String Quartet, Opus 10, the last movement of which is one of the composer’s first forays into atonality, date from 1907 and 1908, respectively, and indicate Schoenberg’s aesthetic alignment with what would become known as German Expressionism. His great atonal works Pierrot Lunaire, the Five Pieces for Orchestra, Opus 16, and the monodrama Erwartung followed in the next few years, and his first definitively twelve-tone work appeared in 1923 (the Suite for Piano, Opus 25). Although Schoenberg’s most important works thereafter were all written using the twelve-tone technique, he continued occasionally to write and arrange tonal works as well. Schoenberg’s unaccompanied choral work Friede auf Erden (“Peace on Earth”) dates from 1907, the end of the composer’s first, “late-Romantic” period; sketches from 1906 are concurrent with those for his Second String Quartet. Although this comparatively early choral piece is tonal, the choruses to which Schoenberg then had access still found the work too challenging to perform. He ultimately wrote an instrumental accompaniment for the piece to make it more practical, but this was met with little success when it was first performed on December 9, 1911, in Vienna, with Franz Schreker conducting. Only later, under the direction of his pupil Anton Webern in the late 1920s, did it begin to receive suitable performances. In the meantime, Schoenberg had essentially given up writing for a cappella chorus. With its clear counterpoint and flowing lines, Schoenberg’s arching, dramatic structure in this setting has less in common with the music of his older contemporary Richard Strauss than with Johannes Brahms, two generations older. Schoenberg’s smooth part-writing follows rules dating back to the Renaissance, though his chromatically tonal harmonic language is current with his own time. The text is an 1886 Christmastime poem by the Swiss poet Conrad Ferdinand Meyer and represents a pastoral, willfully naive prediction for a better future.

ROBERT KIRZINGER Composer/annotator Robert Kirzinger is Associate Director of Program Publications of the Boston Symphony Orchestra.

28 “Friede auf Erden” Poem by Conrad Ferdinand Meyer Translation by Martin Thurn-Mithoff

Da die Hirten ihre Herde When the shepherds left their ﬂock Ließen und des Engels Worte To bring the Angel’s words Trugen durch die niedre Pforte Through the narrow doorstep Zu der Mutter und dem Kind, To the Mother and the Child Fuhr das himmlische Gesind All the angels up in heaven Fort im Sternenraum zu singen Went on singing through the universe, Fuhr der Himmel fort zu klingen: And all heavens sounded: “Friede, Friede auf der Erde!” “Peace, peace on Earth!”

Seit die Engel so geraten, Since these words of angels, O wie viele blut’ge Taten Oh, how many bloody deeds Hat der Streit auf wildem Pferde, On wild horses has the fierce Der geharnischte vollbracht! and cruel fight committed! In wie mancher heil’gen Nacht In how many holy nights Sang der Chor der Geister zagend, Did the angel’s choir sing, Dringlich flehend, leis verklagend: Despairing, imploring and quietly accusing: “Friede, Friede auf der Erde!” “Peace, peace on Earth!”

Doch es ist ein ewger Glaube, Yet, there is faith, eternally, Daß der Schwache nicht zum Raube That not each weak and feeble creature Jeder frechen Mordgebärde To impudent, shameless murder Werde fallen allezeit: Will fall prey: Etwas wie Gerechtigkeit Something like justice Webt und wirkt in Mord und Grauen, Lives and works in murder and atrocity, Und ein Reich will sich erbauen, To erect a kingdom Das den Frieden sucht der Erde. That strives for peace on earth.

Mählich wird es sich gestalten, Gradually will it take its shape, Seines heil’gen Amtes walten, Administering holy justice, Waffen schmieden ohne Fährde, Forging weapons without danger, Flammenschwerter für das Recht, Flaming swords to defend the right, Und ein königlich Geschlecht And a truly royal kind Wird erblühn mit starken Söhnen, Will blossom up, of strongest sons, Dessen helle Tuben dröhnen: And the trumpets will proclaim: “Friede, Friede auf der Erde!” “Peace, peace on Earth!”

Stu Rosner

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 29

Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125 First performance: May 7, 1824, Kärntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 26, 2018, Christoph Eschenbach cond.; Hanna-Elisabeth Müller, Sasha Cooke, Joseph Kaiser, and Thomas Hampson, soloists; Tanglewood Festival Chorus, James Burton, cond. Beethoven’s Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprece dented introduction of voices into a symphony, singing Schiller’s “Ode to Joy”; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the “Heiligenstadt Testament”: “For so long now the heartfelt echo of true joy has been a stranger to me!” Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, brought him to the edge of madness. The idea of setting Schiller’s Ode to music was actually not a conception of Beetho- ven’s melancholy last decade. The poem, written in 1785 and embodying the revolu- tionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller’s utopian verses were the young Beethoven’s music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies every where, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller’s fire-drunk hymn to friendship, marriage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the “Joy” theme, so in the finale it would be unveiled like a revelation. The dramatic progress of the Ninth is usually described as “darkness to light.” Scholar Maynard Solomon refines that idea into “an extended metaphor of a quest for Elysium.” But it’s a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 31 the opening theme returns) appears not in the original D minor but in a strange D major that erupts out of calm like a scream, sounding not triumphant but some- how frightening. As coda there’s a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in bat- tle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven’s most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you’d whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven’s late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfolding in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the “Joy” theme. But why does this celebration of joy open with a dissonant shriek that Richard Wagner called the “terror fanfare,” shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.) This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompaniments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: “Oh friends, not these sounds! Rather let’s strike up something more agreeable and joyful.” Soon the chorus is crying “Freude!”—“Joy!”—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching mil- itary march heroic in context (“Joyfully, like a hero toward victory”) but light unto satiric in tone, in a style the Viennese called “Turkish.” That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant (“Be embraced, you millions! Here’s a kiss for all the world!”). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead (“Seek him beyond the stars”), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale’s episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signifying that the world he’s embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path?

32 In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves. One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven’s Mass the chorus is declaiming “Dona nobis pacem,” the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven’s answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written “Finished with the help of God,” Beethoven wrote under it: “Man, help yourself!” In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller’s exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an un precedented way for a composer, he stepped into history with a great ceremonial work that doesn’t simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you’re looking for the universal, here it is. One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale’s Joy theme, prefigured in bits and pieces from the beginning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? “Be embraced, you millions! This kiss for all the world!” run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and terror and simplicity and complexity, is itself Beethoven’s embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It’s the composer talking to everybody, to history. There’s something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

JAN SWAFFORD Jan Swafford is a prizewinning composer and writer whose books include Beethoven: Anguish and Triumph; Johannes Brahms: A Biography; The Vintage Guide to Classical Music, and Language of the Spirit: An Introduction to Classical Music. An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 33 Text to the ﬁnale of Beethoven’s Ninth Symphony, based on Schiller’s ode, “To Joy”

O Freunde, nicht diese Töne! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. BEETHOVEN

Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer’s nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brüsten der Natur, At Nature’s breasts. Alle Guten, alle Bösen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Küsse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, geprüft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels prächt’gen Across the glorious landscape of the Plan, heavens, Laufet, Brüder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, BSO Archives

34 Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Über Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schöner Götterfunken! Joy, beauteous, godly spark!

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 35 Guest Artists

Giancarlo Guerrero Giancarlo Guerrero is a six-time Grammy Award-winning conductor now in his tenth season as music director of the Nashville Symphony. He is also music director of the Wrocław Philharmonic in Poland and principal guest conductor of the Gulbenkian Orchestra in Lisbon. His passionate advocacy of new music has helped make Nashville a destination for contemporary orchestral music. He has presented nine world premieres with the Nashville Symphony, including the 2018 premiere and recording on Naxos of Jonathan Leshnoff’s Symphony No. 4, Heichalos, written for the ensemble’s Violins of Hope initiative, which featured a collection of restored instruments that survived the Holocaust. He also developed the symphony’s Composer Lab & Workshop initiative with composer Aaron Jay Kernis. In fall 2018, Naxos released Mr. Guerrero’s recording of John Harbison’s Requiem with the Nashville Symphony and Chorus—marking his first choral recording and the first time that work will be heard on record since its premiere by the BSO in 2003. Outside of Nashville, Wrocław, and Lisbon, his 2018-19 engagements include the Dallas and Chicago symphonies, the NDR in Hannover, OSESP São Paulo, and Orquesta Sinfónica de Galicia. Mr. Guerrero has appeared with prominent North American orchestras, including those of Baltimore, Boston, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, Montreal, Philadel- phia, Seattle, Toronto, and Vancouver. Internationally he has worked in recent seasons with the Frankfurt Radio Symphony, Brussels Philharmonic, Deutsches Radio Philhar- monie, Orchestre Philharmonique de Radio France, Netherlands Philharmonic, Amsterdam’s Residentie Orkest, and the London Philharmonic Orchestra, as well as the Queensland Symphony and Sydney Symphony in Australia. Born in Nicaragua, Mr. Guerrero immigrated in his childhood to Costa Rica before coming to the U.S. to study percussion and conducting at Baylor University and Northwestern. He works regularly with the Curtis School of Music, Colburn School in Los Angeles, and Yale Philharmonia, as well as with the Nashville Symphony’s Accelerando program, which provides music education to promising young students from underrepresented ethnic communities. Giancarlo Guerrero made his Boston Symphony and Tanglewood debuts in August 2010 and his BSO subscription series debut in January 2012, returning for BSO appearances in 2016 and 2017 at Tanglewood and further subscription concerts in March 2018. Last Sunday night he made his first appearance with the Tanglewood Music Center Orchestra, conducting Mahler’s Symphony No. 4.

Nicole Cabell Nicole Cabell, who is a Decca recording artist and a winner of the BBC Singer of the World Competition in Cardiff, is one of today’s most sought-after lyric sopranos. Her debut solo album, “Soprano,” was named “Editor’s Choice” by Gramophone and has received critical acclaim and several prestigious awards, including the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique. Ms. Cabell opened her 2018-19 season with her ﬁrst stage performances of Bess in Porgy and Bess with English National Opera. She also made her Pittsburgh Opera debut as Mimì in La bohème before returning to the Minnesota Opera for Violetta in La traviata and to Cincinnati Opera for Juliette in Roméo et Juliette. In concert, Ms. Cabell performed a set of songs on texts by Langston Hughes at the Metropolitan Museum, sang Mozart’s Requiem with the Cincinnati Sym- phony and David Robertson, and joined Master Voices and Ted Sperling at New

36 York’s Alice Tully Hall. Future engagements include returns to Atlanta, Japan, Montreal, and Detroit. In recent seasons, Ms. Cabell’s opera engagements have included the Countess in Le nozze di Figaro with the Grand Théâtre de Genève, Flavia in Eliogabalo with Dutch National Opera, Micaela in Carmen with Atlanta Opera, her debut at the Grand Théâtre de Genève in the title role of Handel’s Alcina, and her role debut as Rosalinde in Die Fledermaus with Cincinnati Opera. On the concert stage, she has sung with the Yomiuri Nippon Symphony Orchestra, Orchestre National de Lille, San Diego Symphony, and London Symphony Orchestra, among many others. She is likewise experienced as a recitalist, having sung at such venues as the Frankfurt Opera, Carnegie Hall, and the Harris Theater for Music and Dance in Chicago. Ms. Cabell’s awards include first place in both the Palm Beach Opera Vocal Competition and the Women’s Board of Chicago Vocal Competition. She was a semifinalist in the 2005 Metropolitan Opera National Council Auditions and earned first place in the American Opera Soci- ety competition in Chicago. In 2002 she was the winner of the Union League’s Rose M. Grundman Scholarship and the Farwell Award with the Woman’s Board of Chicago. She holds a bachelor’s degree in vocal performance from the Eastman School of Music. Nicole Cabell made her BSO and Tanglewood debuts in August 2010 in Bee- thoven’s Ninth Symphony, subsequently returning to Tanglewood in 2011 as Clara in a concert performance of Porgy and Bess and in 2014 for Beethoven’s Choral Fantasy and Symphony No. 9. Ms. Cabell made her BSO subscription series debut with music of Villa-Lobos in the opening program of the 2014-15 season and her Boston Pops Orchestra debut in a May 2016 concert celebrating Gershwin.

J’Nai Bridges American mezzo-soprano J’Nai Bridges makes her Boston Symphony Orchestra and Tanglewood debuts this afternoon. In the 2018-19 season, Ms. Bridges returned to San Francisco Opera for her ﬁrst performances in the title role of Carmen and made her role debut as Kasturbai in Philip Glass’s Satyagraha in a return to Los Angeles Opera. She sang the chamber version premiere of John Adams’s El Niño with the American Modern Opera Company and made her debut with Dutch National Opera reprising the role of Josefa Segovia (which she created in 2017) in John Adams’s and Peter Sellars’s Girls of the Golden West to great acclaim. On the concert stage, she made her Carnegie Hall solo recital debut with pianist Mark Markham in a program of traditional repertoire mixed with African-American songs and spirituals. This was followed by a recital performance entitled “Still We Rise: A Spirituals Celebration” at Charleston’s Gaillard Center. Additional concert engagements included Mozart’s Requiem with the Los Angeles Master Chorale and Mahler’s Kindertotenlieder with the Amarillo Symphony. In recent seasons, Ms. Bridges has sung with such distinguished companies as the San Francisco, San Diego, Los Angeles, and Bavarian State operas, Opernhaus Zürich, and Lyric Opera of Chicago, to name a few. Concert appearances have included the NDR Elbphilharmonie, Louisville Orchestra, the Los Angeles and New York philharmonics, and the Chicago, Kalamazoo, BBC, and National symphony orchestras. Ms. Bridges’s concert engagements have encompassed Ravel’s Chansons madécasses with Yo-Yo Ma and members of the Chicago Symphony Orchestra; Ravel’s Shéhérezade with Esa-Pekka Salonen and the NDR Symphony Orchestra in Hamburg; and Beethoven’s Symphony No. 9 with Gustavo Dudamel and the Los Angeles Philharmonic, and the Simón Bolívar Symphony Orchestra of Venezuela in Berkeley and in Caracas, Venezuela, as well as appearances in concert with the Festival de Torroella de Montgrí in Spain and as a featured soloist in the “Grammy Salute to Music Legends” concert at the Dolby Theatre in Los Angeles. Ms. Bridges represented the United States at the BBC Cardiff Singer of the World Competition in 2015. Among her numerous awards and honors, she was

TANGLEWOOD WEEK 8 GUEST ARTISTS 37 the recipient of a 2016 Richard Tucker Career Grant, ﬁrst-prize winner at the 2016 Francisco Viñas International Competition, ﬁrst-prize winner at the 2015 Gerda Lissner Competition, and a recipient of the 2013 Sullivan Foundation Award, a 2012 Marian Anderson Award, and a 2011 Sara Tucker Study Grant. J’Nai Bridges sang at the 2009 Presidential Inauguration and Martin Luther King, Jr., Day with Chorale Le Chateau. A native of Lakewood, Washington, she received her bachelor’s degree in vocal performance from the Manhattan School of Music and her master’s degree from the Curtis Institute of Music.

Nicholas Phan American tenor Nicholas Phan performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music; he serves as the organization’s artistic director. Mr. Phan launched his 2018-19 season in Chicago, curating CAIC’s seventh annual Collaborative Arts Festival. Other highlights of his 2018-19 season were two role debuts: Eumolpus in Stravinsky’s Perséphone with Michael Tilson Thomas and the San Francisco Sym- phony, and the title role in Handel’s Jephtha with Boston Baroque and Martin Pearlman. He also made his Israeli debut, singing the title role in Bernstein’s Candide with Marin Alsop and the Israel Philharmonic. In addition to three programs with the San Francisco Symphony, he returned to major orchestras across the country, including the Chicago, Dallas, Cincinnati, and St. Louis symphony orchestras. Mr. Phan gave several performances of Antoine Plante’s arrange- ment of Schubert’s Die schöne Müllerin cycle for full orchestra. A celebrated recording artist, he is heard on two new recordings this season: Berlioz’s Roméo et Juliette with Tilson Thomas and the San Francisco Symphony, and Handel’s Joseph and His Brethren with Philharmonia Baroque and Nicholas McGegan, singing the roles of Simeon and Judah. His most recent solo album, “Illuminations,” was released on Avie Records in April 2018; his previous solo album, “Gods and Monsters,” was nominated for the 2017 Grammy Award for Best Classical Vocal Solo Album. Mr. Phan’s many appearances with orchestra have included, among others, the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philhar- monic, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. Among the conductors he has worked with are Marin Alsop, Harry Bicket, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, Jane Glover, Louis Langrée, Zubin Mehta, Riccardo Muti, Yannick Nézet-Séguin, Esa-Pekka Salo- nen, Masaaki Suzuki, and Franz Welser-Möst. A graduate of the University of Michigan, Kevin Toler

TANGLEWOOD WEEK 8 GUEST ARTISTS 39 he also studied at Manhattan School of Music and Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. In 2018 he was appointed to the voice faculty of DePaul University. Mr. Phan made his BSO debut at Tanglewood in August 2014, as the titular character in a BSO concert performance of Bernstein’s Candide, subsequently returning here last summer for Haydn’s Lord Nelson Mass and Bernstein’s Songfest.

Morris Robinson Bass Morris Robinson regularly appears at the Metropolitan Opera, where he is a graduate of the Lindemann Young Artist Program. He made his debut there in a production of Fidelio and has since appeared as Sarastro in Die Zauberflöte (in Julie Taymor’s production, and also in its English version for children), Ferrando in Il trovatore, the King in Aida, and in Nabucco, Tannhäuser, Les Troyens, and Salome. He has also appeared at Lyric Opera of Chicago, Opera Philadelphia, Boston Lyric Opera, La Scala, and the opera companies of San Francisco, Dallas, Pitts- burgh, Seattle, Cincinnati, and Los Angeles, among others. His many other roles include Porgy in Porgy and Bess, Osmin in Die Entführung aus dem Serail, Ramfis in Aida, Zaccaria in Nabucco, Sparafucile in Rigoletto, the Commendatore in Don Giovanni, the Grand Inquisitor in Don Carlo, Timur in Turandot, the Bonze in Madama Butterfly, Padre Guardiano in La forza del destino, and Fasolt in Das Rheingold. Concert engagements have encompassed appearances with the New York Philharmonic, Philadelphia Orchestra, Orchestre Symphonique de Montréal, Met Chamber Orchestra, Los Angeles Philharmonic, and the symphony orchestras of Boston, San Francisco, Baltimore, Houston, São Paulo, Chicago, Nashville, and Atlanta, where he was the 2015-16 artist-in-residence. He has also been a guest at the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier, and Aspen festivals, as well as the BBC Proms. In recital he has been presented by Spivey Hall in Atlanta, the Savannah Music Festival, the National Academy of Sciences in Washington, D.C., the Philadelphia Chamber Music Society, and the Metropolitan Museum of Art. Mr. Robinson’s first album, “Going Home,” was released on the Decca label. He also appears as Joe on the DVD of San Francisco Opera’s production of Show Boat, and on the DVDs of the Metropolitan Opera production of Salome and the Aix-en-Provence Festival production of Mozart’s Zaide. An Atlanta native, Mr. Robinson graduated from The Citadel and received his musical training at the Boston University Opera Institute. He was recently named artistic advisor to Cincinnati Opera. Morris Robinson made his Tanglewood debut in July 2006 as the Commendatore in Tanglewood Music Center performances of Mozart’s Don Giovanni, subsequently returning in July 2010 for his BSO debut as Osmin in a concert performance of Mozart’s Die Entführung aus dem Serail. He has since appeared at Tanglewood as Ramfis in a 2014 BSO concert performance of the Triumphal Scene from Verdi’s Aida; as the King of Egypt in a 2016 BSO concert performance of Aida, Acts I and II; and as Fasolt in the BSO’s 2017 concert performance under Andris Nelsons of Wagner’s Das Rheingold. He made his BSO subscription series debut in April 2017, in Mozart’s Requiem also led by Andris Nelsons.

To read about the Tanglewood Festival Chorus and James Burton, see pages 6-8.

40 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder (Schoenberg Friede auf Erden and Beethoven Symphony No. 9, August 25, 2019)

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

Michele Bergonzi * • Catherine C. Cave # • Tori Lynn Cook • Emily Cotten • Farah Darliette Lewis • Emilia DiCola • Sarah Evans • Mary A.V. Feldman * • Katherine Barrett Foley • Diana Gamet • Hannah Grube • Ashley Gryta • Cynde Hartman • Alyssa Hensel • Polina Dimitrova Kehayova • Donna Kim # • Greta Koning • Lizabeth Malanga • Lisa Nielsen • Laurie Stewart Otten • Kimberly Pearson • Sydney Penny • Avery Peterman • Laura Stanﬁeld Prichard • Livia M. Racz # • Johanna Schlegel • Pamela Schweppe # • Judy Stafford • Sarah Telford # • Nora Anne Watson • Alison L. Weaver • Sarah Wesley • Susan Glazer Yospin Mezzo-Sopranos

Virginia Bailey • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Sarah Cohan • Abbe Dalton Clark • Olivia de Geofroy • Melanie Donnelly • Debra Swartz Foote • Amy Spound Friedman • Irene Gilbride * • Reed Gochberg • Olivia Marie Goliger • Lianne Goodwin • Susan Harris • Susan L. Kendall • Annie Kim • Clara H. Kim • Yoo-Kyung Kim • Nora Kory • Sarah Labrie • Gale Tolman Livingston * • Kristen McEntee • Molly McGuire • Ana Morel • Louise Morrish • Tracy Elissa Nadolny • Kendra Nutting • Fumiko Ohara * • Andrea Okerholm Huttlin • Hana Omori • Roslyn Pedlar # • Ada Park Snider § • Julie Steinhilber * • Lelia Tenreyro-Viana • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox • Janet Wolfe Tenors

Brad W. Amidon # • Armen Babikyan • Quincy Cason • Stephen Chrzan • Andrew Crain # • John Cunningham • Tom Dinger • Carey D. Erdman • Keith Erskine • Len Giambrone • David J. Heid • Timothy O. Jarrett • Lance Levine • Daniel Mahoney • Mark Mulligan • David Norris * • Adam Ouellet • Dwight E. Porter § • Guy F. Pugh • Peter Pulsifer • Miguel A. Rodriguez • Arend Sluis • Stratton Vitikos • Joseph Y. Wang • Hyun Yong Woo • Eytan Wurman Basses

Scott Barton • Eric Chan • William Farrell • Jim Gordon • Jeramie D. Hammond • David M. Kilroy • Paul A. Knaplund • Will Koffel • Bruce Kozuma # • Carl Kraenzel • Timothy Lanagan # • Frank S. Li • Dan Ludden • Greg Mancusi-Ungaro # • Donald R. Peck # • Michael Prichard # • Nate Ramsayer • Steven Rogers • Peter Rothstein § • Andrew Scoglio • Kenneth D. Silber • Charles Sullivan • Stephen Tinkham • Samuel Truesdell • Yen Kuei (Peter) Tu • Jonathan VanderWoude • Peter J. Wender § • Lawson L.S. Wong

TANGLEWOOD WEEK 8 GUEST ARTISTS 41 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.

Ten Million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2)

Seven and One Half Million

Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

Five Million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

Two and One Half Million

Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • Cynthia and John S. Reed • Carol ‡ and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

One Million

Helaine B. Allen ‡ • American Airlines • Lois and Harlan Anderson ‡ • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T •

42 Liliana and Hillel Bachrach • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg ‡ • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. and Dr. Raymond Schneider ‡ • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12) ‡ Deceased

TANGLEWOOD WEEK 8 THE GREAT BENEFACTORS 43 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2018-2019 season. ‡ This symbol denotes a deceased donor.

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

Society Giving at Tanglewood The following list recognizes gifts of $3,000 or more made since September 1, 2018 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2018-2019 season. For further information on becoming a Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259.

Koussevitzky Society Founders $100,000 and above

Michael L. Gordon • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Carol ‡ and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Bonnie and Terry Burman • R. Martin Chavez • Cynthia and Oliver Curme • Joyce Linde • Nancy and Jay Nichols • Perles Family Foundation • Claudio and Penny Pincus • Mrs. Irene Pollin • Mr. James E. Pollin • Sue Rothenberg ‡ • Carol and Irv Smokler Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Joan and Richard Barovick • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ginger and George Elvin • Martha and Todd Golub • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Jackie and Larry Horn • Valerie and Allen Hyman • Elizabeth W. and John M. Loder • Jane B. and Robert J. Mayer, M.D. • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Norma and Jerry Strassler • Linda and Edward Wacks • Stephen and Dorothy Weber • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis ‡ Cohen • Isanne and Sanford Fisher • The Frelinghuysen Foundation •

44 Cora and Ted ‡ Ginsberg • Carol B. Grossman • The Edward Handelman Fund • Carol and George Jacobstein • Leslie and Stephen Jerome • Jay and Shirley ‡ Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton ‡ Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hermine Drezner and Jan ‡ Winkler • Marillyn Tufte Zacharis Patron $10,000 to $19,999

Gideon Argov and Alexandra Fuchs • Norman Atkin MD and Joan Claire Schwartzman in Memory of Shirley Marks • Liliana and Hillel Bachrach • Robert and Elana Baum • Phyllis and Paul Berz • Marlene and Dr. Stuart H. Brager ‡ • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Ranny Cooper and David Smith • Drs. Anna L. and Peter B. Davol • Eitan and Malka Evan • Beth and Richard Fentin • Adaline H. Frelinghuysen • Dr. Fredric C. Friedman and Ms. Cathy Demain Mann • Dr. and Mrs. Levi A. Garraway • Malcom and Linda Griggs • Dr Lynne B Harrison • James and Kristin Hatt • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Susie and Stuart Hirshﬁeld • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Loretta and Michael Kahn Foundation, Inc. • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • The Rita J. and Stanley H. Kaplan Family Foundation; Nancy and Mark Belsky, Susan B. Kaplan, Scott Kaplan Belsky and Gila Belsky Modell • Stephen B. Kay and Lisbeth L. Tarlow • Robert Kleinberg • Toby and Paul Koren • Lizbeth and George Krupp • Norma and Sol D. Kugler • Mr. Dan Kurtz • Shirley and William Lehman • Arlene and Jerome Levine • Arthur and Vicki Loring • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Mr. and Mrs. Gerard O’Halloran • Polly and Dan ‡ Pierce • Andrew and Audrey Proto • Mary Ann and Bruno A. Quinson • Cynthia and John S. Reed • Peggy Reiser and Charles Cooney • Steve and Andrea Ryan • Dr. Beth Sackler and Mr. Jeffrey Cohen • Sagner Family Foundation • Kenan and Andrea Sahin • Malcolm and BJ Salter • Schnesel Family Fund • The Honorable George and Charlotte Shultz • Rita and Harvey Simon • Scott and Robert Singleton • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Jean C. Tempel • Linda and Daniel Waintrup • Anonymous (4) Prelude $7,500 to $9,999

Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomﬁeld • Jane Braus • Debby and Scott Butler • Judith and Stewart Colton • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Saul and Barbara Eisenberg • Mrs. Estanne Fawer and Mr. Martin Fawer • Esta and Kenneth Friedman • Thomas M. Fynan and William F. Loutrel • Lonnie and Jeffrey Garber • Marion Gardner-Saxe and Leonard Saxe • Leslie and Johanna Garﬁeld • Dr. Donald and Phoebe Giddon • Richard Holland and Cathy Birkhahn • Stephen and Michele Jackman • Liz and Alan Jaffe • Jeanne and Richard Jaffe • Martin and Wendy Kaplan • Helaine and Marvin Lender • Geri and Roy Liemer • Janet McKinley • Joan G. Monts • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Sue Z. Rudd • Joan and Michael Salke • Marcia and Albert Schmier • The John and Zelda Family Foundation In Memory of John Schwebel • JoAnne and Joel Shapiro • Arthur and Mary Ann Siskind • Lauren Spitz • Ken Stark in Memory of Lynn • Dorothy and Gerry Swimmer • Aso O. Tavitian • Roger Tilles • Antoine and Emily van Agtmael • Karen and Jerry Waxberg • Gail and Barry Weiss • Ray Ellen and Allan Yarkin • Carol and Robert Zimmerman Member $5,000 to $7,499

Deborah and Charles Adelman • Michael and Susan Albert • Mr. and Mrs. Stanley A. Applebaum • Stephen Barrow and Janis Manley-Barrow • Timi and Gordon Bates •

TANGLEWOOD WEEK 8 SOCIETY GIVING AT TANGLEWOOD 45 David Bear and Laurie Hammer Bear • Judith Bergman and Richard Budson • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Maggie and Don Buchwald • Mr. and Mrs. Jon E. Budish • Mrs. Laura S. Butterﬁeld • David and Maria Carls • Carol and Randy Collord • Ann Denburg Cummis • Mr. and Mrs. Stephen Davis • Dr. and Mrs. Harold Deutsch • Gigi Douglas ‡ and David Fehr • Chester and Joy Douglass • Alan and Lisa Dynner • Ursula Ehret-Dichter • Dr. T. Donald ‡ and Janet Eisenstein • Mr. and Mrs. Martin H. Elrad • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Laura and Philip Fidler • Patricia and James Fingeroth • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Heidi and Austin Frye • Lynne Galler and Hezzy Dattner • Mrs. Athena G. Garivaltis • Drs. Anne and Michael Gershon • Robert ‡ and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Judi Goldsmith • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • The Guttman Family Foundation, in memory of Jerome B. and Albee P. Guttman • David Haas • Beverly and Lyman Hamilton • Joseph K. ‡ and Mary Jane Handler • Barbara Colgan Haynes • Peter and Ann Herbst • Mrs. Barbara Herzberg • Enid and Charles ‡ Hoffman • Mr. Gerald Hornik • Mr. and Mrs. Charles L. Housman • Nancy and Walter Howell • Marty and Judy Isserlis • Lola Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Shulamit ‡ and Chaim Katzman • Mr. and Mrs. Bruce Kelly • Patricia Kennelly and Edward Keon • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold ‡ Klebanoff • Phyllis (Patti) and Harvey Klein • Alan Kluger and Amy Dean • Meg and Joseph Koerner • Margaret and Richard Kronenberg • J. Kenneth Kruvant and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Marilyn E. Larkin • Cynthia and Robert J. Lepofsky • Mrs. Toby H. Levine • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Dr. Nancy Long and Marc Waldor • Diane H. Lupean • Paula Lustbader • Mr. and Mrs. Tod MacKenzie • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Wilma and Norman Michaels • Teresa and Martin Monas • Mr. and Mrs. Raymond F. Murphy, Jr. • Richard Novik and Eugenia Zukerman • John and Mary Ellen O’Connor • Arnold and Ellen Offner • Mr. and Mrs. Stephen M. Oristaglio • Peter Palandjian and Eliza Dushku-Palandjian/Intercontinental Real Estate Corporation • Donald and Laurie Peck • Ms. Claudia K. Perles • Lee Perlman and Linda Riefberg • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. Jonathan Resnick • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Bette Sue and Lawrence Rosenthal • Edie and Stan Ross • Selma Rothstein • Milton B. Rubin • Larry and Pat Rutkowski • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Bob and Silvia Schechter • Sari Scheer and Sam Kopel • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • David and Rosalie Schottenfeld • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Marvin and Carol Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Mr. and Mrs. Stanley Singer • Mr. Peter Spiegelman and Ms. Alice Wang • Lynn ‡ and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Ingrid and Richard Taylor • Mr. and Mrs. Steven A. Tobin • Jacqueline and Albert Togut • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Kevin Truex and Francis Burnes • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Alex and Patricia Vance • Marilyn and Ron Walter • Ms. Gayllis R. Ward and Mr. James B. Clemence • Ron and Vicki Weiner • Betty and Ed Weisberger • Mr. Robert W. Werner and Ms. Suzanne H. Werner • Carol Andrea Whitcomb • Carole White • The Wittels Family • Sally and Steve Wittenberg • Susan Ellen Wolf • The Jessie and Bernard Wolfson Family Foundation • Ms. Erika Z. Goldberg and Dr. Stephen Kurland • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3)

46 Bernstein Society $3,000 to $4,999

Ms. Jean F. Adelson • Mrs. Ruth Alexander • Arthur Appelstein and Lorraine Becker • Mr. and Mrs. Stephen N. Ashman • David and Susan Auerbach • Mr. Benny Barak and Dr. Barbara Baum Barak • Ms. Shirley B. Barnes • Mr. ‡ and Mrs. Derek J. Benham • Cindy and David Berger • Helene Berger • John Bergman • Richard Bernstein and Janice Abbott • Birgit and Charles Blyth • Ms. Morene Bodner and Mr. David P. Carlisle • Jim and Linda Brandi • Elaine and Charlie Brenner • William E. Briggs • Richard and Diane Brown • Sandra L. Brown • Rhea and Allan Bufferd • James and Debbi Buslik • Patricia Callahan • Mr. and Mrs. Larry Carsman • Mr. Edward Chazen and Ms. Barbara Gross • Margaret and Bertram Chinn • Dr. Frank Clark and Dr. Lynn Delisi • Lewis F. Clark, Jr. • Malcolm and Ann Cole • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Deborah and Gary Crakes • Brenda and Jerome Deener • Arthur and Isadora Dellheim • Mr. and Mrs. Matthew Deres • Margaret Deutsch • Mr. Ritchie Dion • Emilie and Clark Downs • Terry and Mel Drucker • In memory of Ann Dulye from Linda Dulye • Mr. and Mrs. Leonard Edelson • Adele and Bruce Fader • Dr. and Mrs. Gerald D. Falk • Marcia and Jonathan Feuer • Nancy and Peter Finn • Steve and Renee Finn • Elizabeth Fontaine • John and Alice Frazier • Carolynn and Michael Friedman • Jill and Harold Gafﬁn • John and Ann Galt • George and Barbara Gellert • Drs. Ellen Gendler and James Salik in memory of Dr. Paul and Rochelle Gendler • Ann Ghublikian and Margaret Sutherland • Mr. and Mrs. James W. Giddens • David and Marita Glodt • Joe and Perry Goldsmith • Paul Gompers and Jody Dushay • Hon. José A. Gonzalez, Jr. and Mary Copeland • Rhonna and Ezra Goodman • Mr. and Mrs. Thomas Graham • Jody and Martin Grass • Patricia and Louis Grossman • Michael and Muriel Grunstein • Dr. and Mrs. Melvin Hanzel • Mr. and Mrs. Hans Homburger • James ‡ and Joan Horwitz • Richard and Marianne Jaffe • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Barbara and Gerry Katz • Mr. and Mrs. Ezra Katz • Hans Knapp • Richard and Amy Kohan • Mr. Robert L. Kuttner and Ms. Joan Fitzgerald • Cary and Beth Lakenbach • Jay and Cheryl Lawrence • Mr. Arthur J. Levey and Ms. Rocio Gell • Jeremy Levine • Thomas and Adrienne Linnell • Benjamin and Sharon Liptzin • Dr. and Mrs. Richard E. Litt • David Lloyd and Meg Mortimer • Luria Family • Jb and Evan Mallah • Jackie and Dr. Malcolm Mazow • Mr. and Mrs. Charles H. McGill III • Terence McInerney • Profs. Gary and Robin Melton • Soo Sung and Robert Merli • Steven and Michele Mestman • Judy and Richard J. Miller • Michael and Annette Miller • Mrs. Loraine B. Millman • Dr. Ronald and Merri Millman • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Ms. Cynthia Noe and Mr. Charles Grice • Ms. Nancy O’Malley and Mr. Jon Reinhardt • Dr. William S. Packard and Dr. Charles L. Ihlenfeld • Mr. Gerald W. and Mrs. Alice Padwe • Mr. Kenneth Patterson • Ms. Marie Pindus • Letty Cottin Pogrebin and Bert Pogrebin • Sumit Rajpal and Deepali Desai • Robert and Ruth Remis • Burton and Marjorie Resnic • Ms. Pamela Reznick • Dr. and Mrs. Jeffrey S. Ross • Barbara Rubin • Thomas and Kim Rufﬁng • Joanne Zervas Sattley • Mr. and Mrs. Michael Scheck • Dan Schrager and Ellen Gaies • Heidi and Robert Schwartz • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Theodore and Barbara Shiffman • Linda and Marc Silver, in loving memory of Marion, Sidney and Daniel Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Anne Smith and John Goodhue • Tracey and Elliott Stein • Shirley and Al Steiner • Milton Steren • The Barrington Foundation. Inc. • Jodi and Paul Tartell • John Lowell Thorndike • Mr. and Mrs. Jack Tobin • Mr. Donald J. Toumey • Jonathan and Shari Turell • Donald Usher and William E. Briggs • Kae and Ben Wallace • William Wallace • Mr. and Mrs. Melvin A. Warshaw • Peter and Pat Weber • Dr. and Mrs. Jerry Weiss • Fred and June Wertlieb • Ms. Nancy Whitson-Rubin • Elisabeth and Robert ‡ Wilmers • Mr. Robert R. and Mrs. Sharyn B. Wilson • Lynn Carlson and Prescott Winter • Dr. Thomas and Barbara Wright • Cheryl and Michael Zaccaro • Anonymous

TANGLEWOOD WEEK 8 SOCIETY GIVING AT TANGLEWOOD 47 Tanglewood Major Corporate Sponsors 2019 Season Tanglewood major corporate sponsorships reﬂect the importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships.

Chase is proud to be the 2019 Tanglewood Season Sponsor. Chase is the U.S. consumer and commercial banking business of JPMorgan Chase & Co. (NYSE: JPM), a leading global financial services firm with assets of $2.6 trillion and operations worldwide. Chase serves nearly half of America’s households with a broad range of financial services, including personal banking, credit cards, mortgages, auto financing, investment advice, small business loans and payment processing. Customers can choose how and where they want to bank: Nearly 5,000 branches, 16,000 ATMs, mobile, online and by phone. For more information visit chase.com/boston.

OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Ofﬁcial Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the second year of our partnership.

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

For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. C+I 2019 studs.indd 17 8/29/19 12:17 PM C+I 2019 studs.indd 18 8/29/19 12:17 PM Trust aving that sense of security— Hand the knowledge your investment advisor understands your financial situation—is invaluable. Discover the qualities that can help provide some certainty in these uncertain times. Have a conversation with our managing director, Gary Schiff, and the team at October Mountain Financial Advisors. 103 West Park Street Lee, MA 01238 Tel: 413-243-4331 FAX: 413-243-0499 octobermountainfa.com St. Germain Investment Management operates as October Mountain Financial Advisors in the Berkshires.

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Where were we 50 years ago?

The Final Impossibility: Man’s Tracks on the Moon (detail), 1969. Norman Norman Rockwell Museum Collection © Norman Rockwell Family Arnold Skolnick, Concert poster for the Woodstock festival, August 1969. Rockwell Family Agency. All rights reserved. Agency. All rights reserved.

5o years of illustration art

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C+I 2019 studs.indd 20 8/29/19 12:17 PM BSO, TMC, and TLI at Tanglewood

For detailed program and ticket information about BSO and Tanglewood Music Center (TMC) concerts, please visit tanglewood.org. For detailed program and ticket information about the Tanglewood Learning Institute, please visit TLI.org. Brochures with complete programs and ticket information are available at the Welcome Center by the Main Gate, at the Visitor Center in the Tappan Manor House, and at the Linde Center for Music and Learning.

Friday, July 5, 6pm, Ozawa Hall Tuesday, July 9, 8pm, Ozawa Hall Prelude Concert—MEMBERS OF THE BSO TLI—FULL TILT Music of Mozart, Jongen, and Françaix MEOW MEOW—“Pandemonium”

Friday, July 5, 8pm, Shed Wednesday, July 10, 8pm, Ozawa Hall BSO—ANDRIS NELSONS, conductor HILARY HAHN, violin EMANUEL AX, piano All- J.S. Bach program Music of Mozart and Mahler Thursday, July 11, 8pm, Ozawa Hall Saturday, July 6, 10:30am, Shed VENICE BAROQUE ORCHESTRA Rehearsal (Pre-Rehearsal Talk, 9:30am) AVI AVITAL, mandolin BSO program of Saturday, July 6 Music of Geminiani, Vivaldi, Albinoni, and Paisiello Saturday, July 6, 5pm, Ozawa Hall TLI—THE BIG IDEA Friday, July 12, 6pm, Ozawa Hall MADELEINE K. ALBRIGHT Prelude Concert—MEMBERS OF THE BSO Music of Cage, Ninfea Cruttwell-Reade, Steve Saturday, July 6, 6:15pm, Linde Center Reich, and Steven Snowden TMC Prelude Concert—TMC FELLOWS Music of Previn, Marc Neikrug, and John Friday, July 12, 8pm, Shed Harbison BSO—ANDRIS NELSONS, conductor JAN LISIECKI, piano Saturday, July 6, 8pm, Shed THOMAS ROLFS, trumpet BSO—ANDRIS NELSONS, conductor ROBERT SHEENA, English horn ANNE-SOPHIE MUTTER, violin Music of Copland and Grieg Music of Joan Tower, Previn, and Dvoˇrák Saturday, July 13, 10:30am, Shed Sunday, July 7, 10am, Ozawa Hall Rehearsal (Pre-Rehearsal Talk, 9:30am) TMC Chamber Music Concert BSO program of Sunday, July 14 Music of Sarah Gibson (world premiere; TMC commission), Debussy, Jack Frerer, Saturday, July 13, 6:15pm, Linde Center Katherine Balch (world premiere; TMC TMC Prelude Concert—TMC FELLOWS commission), and Mozart Music of Stravinsky, Röntgen, and Clara Schumann Sunday, July 7, 2:30pm, Shed BOSTON POPS ORCHESTRA—JOHN Saturday, July 13, 8pm, Shed WILLIAMS and DAVID NEWMAN, BSO—ANDRIS NELSONS, conductor conductors KRISTINE OPOLAIS, OKSANA VOLKOVA, ANNE-SOPHIE MUTTER, violin JONATHAN TETELMAN, and RYAN SPEEDO “Across the Stars: Music of John Williams” GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS Monday, July 8, 8pm, Ozawa Hall Verdi’s Requiem TMC ORCHESTRA—ANDRIS NELSONS and CONDUCTING FELLOWS, conductors Sunday, July 14, 10am, Ozawa Hall THOMAS ROLFS, trumpet TMC CHAMBER MUSIC CONCERT Music of Berlioz, Tchaikovsky, and Music of Andrew Haig, Dvoˇrák, Joan Tower, Shostakovich, and Detlev Glanert’s and Shostakovich Concerto for Trumpet and Orchestra (world premiere; TMC commission) The Berkshires’ Iconic Resort & Estate The Champagne Salon by Dom Perignon First of its kind in the US, open year round The Conservatory Seasonal and elegant four-course tasting menu The Bistro Seasonally local cuisine for breakfast, lunch and dinner

Visit Blantyre.com or call 413.637.3556 Sunday, July 14, 2:30pm, Shed Sunday, July 21, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT HÅKAN HARDENBERGER, trumpet Music of Shapero, Crumb, Sid Richardson, Music of Beethoven, HK Gruber, and Strauss Penderecki, and Lukas Foss

Monday, July 15, 8pm, Ozawa Hall Sunday, July 21, 2:30pm, Shed TMC ORCHESTRA—STEFAN ASBURY and BSO—ANDRIS NELSONS, conductor CONDUCTING FELLOWS, conductors JEAN-YVES THIBAUDET, piano Music of Respighi, Helen Grime (world Music of Gershwin and Stravinsky premiere; TMC commission), and Tchaikovsky Sunday, July 21, 8pm, Ozawa Hall Tuesday, July 16, 8pm, Ozawa Hall TMC VOCAL CONCERT MILOŠ, classical guitar Music of Ginastera and Ravel Music of J.S. Bach, Granados, Albéniz, Villa-Lobos, Lennon/McCartney, Harrison, Tuesday, July 23—Tanglewood on Parade and Mathias Duplessy Grounds open at 2pm for music and activities throughout the afternoon, including Tangle- Wednesday, July 17, 8pm, Ozawa Hall wood Music Center and Boston University GAUTIER CAPUÇON, cello Tanglewood Institute performances. JEAN-YVES THIBAUDET, piano Gala concert, 8pm, Shed Music of Schumann, Brahms, Sibelius, and BSO, BOSTON POPS ORCHESTRA, and Shostakovich TMC ORCHESTRA Thursday, July 18, 8pm, Linde Center ANDRIS NELSONS, KEITH LOCKHART, JOHN WILLIAMS, THOMAS WILKINS, and TMC VOCAL CONCERT JAMES BURTON, conductors Music of Hemsi, Chaminade, Falla, and Ives Music from Wagner’s Die Walküre; James Friday, July 19–Sunday, July 21 Burton’s The Lost Words, for children’s choir and orchestra (world premiere; BSO TLI—O’KEEFFE WEEKEND co-commission); Respighi’s Fountains of Rome; Friday, July 19, 6pm, Ozawa Hall Tchaikovsky’s 1812 Overture, and more Prelude Concert—MEMBERS OF THE BSO Fireworks to follow the concert Music of Poulenc, Saint-Saëns, Massenet, and Ravel Wednesday, July 24, 8pm, Ozawa Hall RENÉE FLEMING, soprano Friday, July 19, 8pm, Shed EMERSON STRING QUARTET BSO—ANDRIS NELSONS, conductor SIMONE DINNERSTEIN, piano GAUTIER CAPUÇON, cello Music for string quartet by Walker, Richard Music of Betsy Jolas, Saint-Saëns, Debussy, Wernick, and Barber, and Penelope, for and Ravel soprano, string quartet, and piano, by André Previn and Tom Stoppard (world premiere; Saturday, July 20, 10:30am, Shed BSO co-commission) Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 21 Thursday, July 25, 8pm, Ozawa Hall STEFAN JACKIW, violin Saturday, July 20, 6:15pm, Linde Center JEREMY DENK, piano TMC Prelude Concert—TMC FELLOWS HUDSON SHAD, vocal quartet Music of Britten and Brahms All-Ives program including Violin Sonatas Nos. 1-4 plus hymns, patriotic songs, and Saturday, July 20, 8pm, Shed marches that inspired the sonatas BSO—ANDRIS NELSONS, conductor RENÉE FLEMING and ROD GILFREY, Friday, July 26–Sunday, July 28 vocal soloists TLI—WAGNER WEEKEND WENDALL HARRINGTON, video artist Friday, July 26, 6pm, Ozawa Hall Music of Elgar and Kevin Puts’s The Brightness of Light (world premiere; BSO co-commission) Prelude Concert—MEMBERS OF THE BSO Music of J.S. Bach Friday, July 26, 8pm, Shed Sunday, July 28, 10am, Ozawa Hall BSO—ANDRIS NELSONS, conductor TMC CHAMBER MUSIC CONCERT PAUL LEWIS, piano Music of Wagner, Ari Sussman, Berg, and TANGLEWOOD FESTIVAL CHORUS Schoeck Music of Shostakovich, Mozart, and Ravel Sunday, July 28, 2:30pm (Act II) and Saturday, July 27, 10am, Ozawa Hall 6:30pm (Act III) BSO—THOMAS WILKINS, conductor TMC ORCHESTRA—ANDRIS NELSONS, COLEEN HOLMES, narrator conductor BSO Family Concert, to include Prokofiev’s AMBER WAGNER (Sieglinde), CHRISTINE Peter and the Wolf GOERKE (Brünnhilde), STEPHANIE BLYTHE (Fricka), SIMON O’NEILL Saturday, July 27, 10:30am (Siegmund), JAMES RUTHERFORD (Wotan), Rehearsal (Pre-Rehearsal Talk, 9:30am) and FRANZ-JOSEF SELIG (Hunding), vocal TMC Orchestra program of Sunday, July 28 soloists JESSICA FASELT, EVE GIGLIOTTI, WENDY Saturday, July 27, 5pm, Ozawa Hall BRYN HARMER, KELLY CAE HOGAN, TLI—THE BIG IDEA DANA BETH MILLER, RONNITA MILLER, DORIS KEARNS GOODWIN MARY PHILIPS, and RENÉE TATUM (Valkyries), vocal soloists Saturday, July 27, 6:15pm, Linde Center Wagner’s Die Walküre, Act II (2:30pm) and TMC VOCAL PRELUDE CONCERT Act III (6:30pm) To include Wagner’s Wesendonck-Lieder (Concert performances sung in German with English supertitles) Saturday, July 27, 8pm, Shed Single ticket provides admission to both concerts. TMC ORCHESTRA—ANDRIS NELSONS, conductor Tuesday, July 30, 8pm, Ozawa Hall AMBER WAGNER (Sieglinde), SIMON PAUL LEWIS, piano O’NEILL (Siegmund), and FRANZ-JOSEF Music of Haydn, Brahms, and Beethoven SELIG (Hunding), vocal soloists Wagner’s Die Walküre, Act I Wednesday, July 31, 8pm, Ozawa Hall (Concert performance sung in German with THOMAS HAMPSON, baritone English supertitles) LARA DOWNES, piano THE BEYOND LIBERTY PLAYERS “Song of America: Beyond Liberty”

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Thursday, August 1, 8pm, Ozawa Hall Wednesday, August 7, 8pm, Ozawa Hall NATIONAL YOUTH ORCHESTRA OF YEFIM BRONFMAN, piano THE UNITED STATES OF AMERICA All-Beethoven program SIR ANTONIO PAPPANO, conductor ISABEL LEONARD, mezzo-soprano Thursday, August 8–Monday, August 12 Music of Benjamin Beckman (world FESTIVAL OF CONTEMPORARY MUSIC premiere), Berlioz, and Strauss TLI FESTIVAL OF CONTEMPORARY MUSIC WEEKEND Friday, August 2, 6pm, Ozawa Hall August 8, 8pm, Ozawa Hall: TMC ORCHESTRA Prelude Concert—MEMBERS OF THE BSO AND VOCAL FELLOWS, THOMAS ADÈS, Music of Hindemith, Price, and Shostakovich conductor August 9, 2:30pm, Linde Center: TMC Friday, August 2, 8pm, Shed CHAMBER MUSIC CONCERT The Serge and Olga Koussevitzky Memorial August 10, 6:15pm, Linde Center (TMC Prelude Concert Concert): TMC FELLOWS and NEW FROMM BSO—KEN-DAVID MASUR, conductor PLAYERS JOSHUA BELL, violin August 11, 10am, Ozawa Hall: TMC CHAMBER Music of Martin and Dvoˇrák MUSIC CONCERT August 11, 5pm, Linde Center: SILENT FILMS Saturday, August 3, 10:30am, Shed WITH NEW SCORES BY TMC Rehearsal (Pre-Rehearsal Talk, 9:30am) COMPOSITION FELLOWS BSO program of Sunday, August 4 August 12, 6pm, Ozawa Hall (Prelude Concert): Saturday, August 3, 6:15pm, Linde Center PIANO WORKS OF KNUSSEN AND OTHERS TMC Prelude Concert—TMC FELLOWS August 12, 8pm, Ozawa Hall: TMC Music of Tomasi, George Lewis, and Fauré ORCHESTRA, THOMAS ADÈS, conductor

Saturday, August 3, 8pm, Shed Friday, August 9, 6pm, Shed BSO—ASHER FISCH, conductor Prelude Concert—MEMBERS OF THE BSO PINCHAS ZUKERMAN, violin ROGER VIGNOLES, piano AMANDA FORSYTH, cello Music of Britten and Fauré Music of Schumann, Avner Dorman, Friday, August 9, 8pm Beethoven, and Mendelssohn BSO—LEONIDAS KAVAKOS, conductor Sunday, August 4, 10am, Ozawa Hall and violin TMC CHAMBER MUSIC CONCERT Music of Beethoven and Dvoˇrák Music of Copland, Harriet Steinke, Beethoven, Saturday, August 10, 10:30am, Shed and Weinberg Rehearsal (Pre-Rehearsal Talk, 9:30am) Sunday, August 4, 2:30pm, Shed BSO program of Sunday, August 11 BSO—DIMA SLOBODENIOUK, conductor Saturday, August 10, 8pm, Shed YEFIM BRONFMAN, piano Music of Rachmaninoff and Sibelius BSO—RAFAEL PAYARE, conductor NIKOLAI LUGANSKY, piano Sunday, August 4, 7pm, Linde Center Music of Carreño, Rachmaninoff, and Brahms TLI—CINEMATICS/FULL TILT Sunday, August 11, 2:30pm, Shed TMC VOCAL FELLOWS Selections from John Cage’s Song Books BSO—THOMAS ADÈS, conductor INON BARNATAN, piano Monday, August 5, 8pm, Ozawa Hall Music of Ives and Beethoven TMC CHAMBER ORCHESTRA Sunday, August 11, 7:30pm, Shed TMC VOCAL AND CONDUCTING FELLOWS Music of Haydn, Eisler, and Tchaikovsky YO-YO MA, cello J.S. Bach’s Suites for Solo Cello Tuesday, August 6, 8pm, Ozawa Hall Tuesday, August 13, 8pm, Ozawa Hall EMANUEL AX, piano LEONIDAS KAVAKOS, violin LEONIDAS KAVAKOS, violin YO-YO MA, cello EMANUEL AX, piano A program of Beethoven piano trios A program of Beethoven violin sonatas

Wednesday, August 14, 8pm, Linde Center Sunday, August 18, 8pm, Ozawa Hall TMC VOCAL CONCERT TMC ORCHESTRA—GIANCARLO Music of Wolf, Elizabeth Vercoe, Hahn, GUERRERO, conductor Massenet, and Debussy TMC CONDUCTING AND VOCAL FELLOWS Thursday, August 15, 8pm, Ozawa Hall Music of Sibelius, Hindemith, and Mahler THE KNIGHTS ERIC JACOBSEN, conductor Friday, August 23–Sunday, August 25 GIL SHAHAM, violin TLI—FILM WEEKEND Music of Ligeti, Brahms, György Kurtág, and Kodály Friday, August 23, 6pm, Ozawa Hall Prelude Concert—TANGLEWOOD FESTIVAL Friday, August 16, 6pm, Shed CHORUS Prelude Concert—MEMBERS OF THE BSO JAMES BURTON, conductor KIRILL GERSTEIN, piano Friday, August 23, 8pm, Shed Music of Dohnányi and Brahms BSO—YU-AN CHANG, conductor Friday, August 16, 8pm INGRID FLITER, piano BOSTON POPS ORCHESTRA—KEITH Music of Mendelssohn, Ravel, and Schuber LOCKHART, conductor “Star Wars: A New Hope” Saturday, August 24, 10:30am, Shed Film with live orchestral accompaniment Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 24 Saturday, August 17, 10:30am, Shed Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 24, 5pm, Ozawa Hall BSO program of Sunday, August 18 TLI—THE BIG IDEA DANIEL SHAPIRO Saturday, August 17, 2:30pm, Linde Center WORKS BY TMC COMPOSITION FELLOWS Saturday, August 24, 8pm, Shed BOSTON POPS Saturday, August 17, 6:15pm, Linde Center JOHN WILLIAMS’ FILM NIGHT TMC Prelude Concert—TMC FELLOWS DAVID NEWMAN, conductor Music of Ravel and Brahms JOHN WILLIAMS, host

Saturday, August 17, 8pm, Shed Sunday, August 25, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor BSO—GIANCARLO GUERRERO, conductor KIRILL GERSTEIN, piano NICOLE CABELL, J’NAI BRIDGES, Music of Brahms and Schumann NICHOLAS PHAN, and MORRIS ROBINSON, vocal soloists Sunday, August 18, 10am, Ozawa Hall TANGLEWOOD FESTIVAL CHORUS TMC CHAMBER MUSIC CONCERT Music of Schoenberg and Beethoven Music of Mendelssohn, Osvaldo Golijov, Lara Poe, Fred Lerdahl, and Brahms

Sunday, August 18, 2:30pm, Shed BSO—FRANÇOIS-XAVIER ROTH, conductor YO-YO MA, cello MEMBERS OF THE BSO HORN SECTION Music of Schumann and Brahms

Programs and artists subject to change.

Boston University Tanglewood Institute Boston University Tanglewood Institute (BUTI) is recognized internationally as a premier summer training program for advanced young musicians ages 10–20, and is the only program of its kind associated with a major university and one of the world’s great symphony orchestras. BUTI’s intensive and innovative programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the Boston Symphony Orchestra and Tanglewood Music Center have combined to give it a celebrated and distinctive reputation among its peers. Founded in 1966, BUTI resulted from the vision of Erich Leinsdorf, then music director of the BSO, who invited Boston University College of Fine Arts to create a summer program that would complement the existing offerings of the BSO’s Tanglewood Music Center. More than fifty years later, BUTI continues to build upon its legacy of excellence, annually offering a transformative experience to more than 400 young instrumentalists, composers, and singers from across the country and around the world. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators, supporters, and audience members. Currently, fifteen members of the BSO are BUTI alumni. (photo by Stratton McCrady) Each summer, BUTI presents more than 100 performances throughout the Berkshires, including six concerts in Seiji Ozawa Hall. All events are free and open to the public unless otherwise noted. For more information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, call 617.353.3386, or visit us online at bu.edu/tanglewood.

2019 BUTI Concert Series in Ozawa Hall

YOUNG ARTISTS ORCHESTRA*: Saturday, July 13, 1:30pm. Bruce Kiesling conducts Bates’ (BUTI’94) Desert Transport, Britten’s Sinfonia da Requiem, and Mussorgsky’s Pictures at an Exhibition. Saturday, July 27, 1:30pm. Miguel Harth- Bedoya conducts Mazzoli’s (BUTI ’98) River Rouge Transfiguration, Brahms’ Symphony No. 2, and Ginastera’s Harp Concerto, Op. 25, with Ann Hobson Pilot, harp; Gerald Elias conducts Vivaldi’s Concerto alla rustica and Telemann’s Concerto polonois. Saturday, August 10, 1:30pm. Paul Haas conducts Haas’ (BUTI ’87,’88) …in spiralis…, Dukas’ The Sorcerer’s Apprentice, and Mahler’s Symphony No. 1.

YOUNG ARTISTS WIND ENSEMBLE: Sunday, July 14, 7pm. David Martins conducts works by Gandolfi, Gillingham, Gregson, and Ticheli. Sunday, July 28, 2:30pm. H. Robert Reynolds conducts works by Gould, Grainger, Grantham, Marquez, and Gershwin’s Rhapsody in Blue, with Thomas Weaver (BUTI ’08), piano.

YOUNG ARTISTS CHORUS: Saturday, August 3, 1:30pm. Katie Woolf conducts Orff’s Carmina burana.

* Young Artists Orchestra tickets are available for $13 each and available at bso.org. For complete concert series, ticket, and venue information, visit bu.edu/tanglewood. BUTI’s 2019 Summer Concert Series is generously sponsored by M&T Bank. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2019 season. Underlined Boldface denotes Koussevitzky Society support of $5,000 or more; boldface denotes Bernstein Society support of $3,000-$4,999 or more, and italics denote Highwood Club support of $1,500-$2,999. For information about how to join Tanglewood Business Partners, please contact Laurence Oberwager at 413-717-1513 or [email protected]. We hope you will support our members by patronizing them!

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Administration

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

Administrative Staff/Artistic

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

Administrative Staff/Production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Emilio Gonzalez, TLI Program Manager • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Management Ofﬁce Administrator • Joel Watts, Assistant Audio and Recording Engineer

Boston Pops

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

Business Office

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

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

Development

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

Education and Community Engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement

Event Services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant

Facilities Robert Barnes, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garﬁeld Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Tanglewood Grounds Manager • Peter Socha, Tanglewood Facilities Manager • Ross Jolly, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Bruce Huber, Assistant Carpenter/Roofer • Ronald Paul, Plumber/HVAC Technician • Dale Romeo, Electrician

Human Resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist

Information Technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst

Public Relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist • Linda Matchan, Senior Publicist

Publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications

Sales, Subscriptions, and Marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Ofﬁcer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Eugene Ware, Associate Marketing Manager • Andrew Wilds, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing

Box Office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • Nicholas Duffin, Visitor Center Manager • Christopher Holmes, Public Safety Supervisor • Tammy Lynch, Tanglewood Front of House Director • Peter Nabut, TLI Production Manager • Rebecca Patterson, Tanglewood Business Partners Assistant • Peggy and John Roethel, Seranak Managers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper

Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman

Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price

Liaisons, Tanglewood Glass House Gift Shops, Adele Cukor • Ushers, Carolyn Ivory Tanglewood Project Leads 2019 Brochure Distribution, Mark Beiderman • Exhibit Docents, Joan Buccino and Bonnie Desrosiers • Greeters, Monica Sinclair • Guide’s Guide, Audley H. Fuller and Renee Voltmann† • Information Table, Jane and Howard Jacobs • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Seranak Flowers, Sandra Josel • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Families, Ruth Markovits and Phyllis Pollack • Tanglewood Host Program, Rita Yohalem • TMC Lunch Program, Carlos and Susan Murawczyk and Ellen and Len Tabs • Tour Guides, Howie Arkans and Steve Mestman • Volunteer Applications, Judy Levin • Welcome Center, Gail Harris and Anne Hershman • Young Ambassadors, William Ballen and Carole Siegel

† Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

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