Week 14 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 14 andris nelsons music director

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Table of Contents | Week 14

7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 a brief history of symphony hall 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Hector Berlioz 37 Camille Saint-Saëns 45 Nikolai Rimsky-Korsakov 53 To Read and Hear More…

Guest Artists

57 Tugan Sokhiev 59 Johannes Moser

62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

the friday preview talk on january 23 is given by harlow robinson of northeastern university.

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 14 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. † • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 14 trustees and overseers 5

BSO News

Focus on Andris Nelsons: A New Multimedia Display at Symphony Hall A new multimedia display in Higginson Hall has been designed to provide BSO fans with a kaleidoscope of information about Andris Nelsons and the excitement surrounding his presence as BSO music director. Highlighting the exhibit is a hologram of Maestro Nelsons speaking about his musical values; also included are several video screens offering backstage and other behind-the-scenes clips, interviews, press conferences, a promotional video about Maestro Nelsons’ new Sibelius/Wagner CD with the BSO, and concert footage from both Symphony Hall and Tanglewood, as well as a loop of the acclaimed documentary “Genius on Fire,” an iPad trivia contest about Andris Nelsons, and a display of memorabilia and press clippings. The exhibit runs until January 30, and is open to the public on Tuesdays, Thursdays, and Saturdays from 10 a.m. to 5 p.m., as well as during all evening concerts.

BSO “Insights,” February 2-24, 2015— “Diaghilev’s Ballets Russes: Crucible of Modern Music” This season’s BSO “Insights” series—“Diaghilev’s Ballets Russes: Crucible of Modern Music”—is scheduled for February 2-24, and will explore works commissioned, performed, and danced by Serge Diaghilev’s Ballets Russes, along with other, related music from the culturally significant period covering roughly the first two decades of the 20th century. Events will encompass live performances by the Boston Symphony Orchestra and others of music from this period; the 2005 film Ballets Russes, an intimate portrait of a group of pioneering artists, now in their seventies, who gave birth to modern ballet; and commentary from participating guest artists. Three of the events will be discussions hosted by Harvard University’s Thomas Kelly, to take place on the Symphony Hall stage at 7 p.m. on three successive Tuesdays, with guest speakers including conductor Vladimir Jurowski and composer Harry Birtwistle (on “The Roots of Modernism,” February 10), conductor Stéphane Denève (on “Stravinsky and the Ballets Russes,” February 17), and conductor Charles Dutoit (on “Late Impressionism/Early Modernism,” February 24). For more information on this BSO “Insights” series, please visit bso.org.

New This Year: “Onstage at Symphony” The 2014-15 season brings the launch of the BSO’s Onstage at Symphony, a program con- vening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsal and sectional experiences culminating in a performance on the Symphony Hall stage. Designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but who have pursued alternate career paths, this program

week 14 bso news 7 celebrates the amateurs’ talent and continued commitment to music while also providing access to the resources of the Boston Symphony Orchestra and Symphony Hall, and giving community musicians an opportunity to experience a “day in the life” of a professional musician under the leadership of BSO Germeshausen Youth and Family Concerts Conductor Thomas Wilkins. Activities will take place from Wednesday, January 28, to Saturday, January 31; the group’s final performance, on Saturday, January 31, at 1:30 p.m., an orchestral program of Weber, Suppé, Delius, and Liszt, is free and open to the public. For more information, please visit bso.org/onstageatsymphony.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on January 23 will be given by Harlow Robinson of Northeastern University. Upcoming speakers include Robert Kirzinger on January 30, Marc Mandel on February 20, and author/composer Jan Swafford on February 27.

BSO Community Chamber Concerts The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. The next Community Concert, on Sunday, February 15, at Roxbury Community College, features BSO members Robert

week 14 bso news 9 10 Sheena, Rachel Childers, Catherine French, Kazuko Matsusaka, and Owen Young with pianist Nina Ferrigno in music of Tchaikovsky, Sibelius, Mozart, and Brahms. Admission is free, but reservations are required; please call 1-888-266-1200. The free Community Concerts are made possible by a generous grant from the Lowell Institute. For more information, please visit bso.org and go to “Education & Community” on the home page.

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on selected Friday afternoons during the 2014-15 season. Upcoming concerts this season include music of Tchaikovsky, Sibelius, Mozart, and Brahms (February 13), Stravinsky’s complete L’Histoire du soldat (March 6), and string quintets of Mozart (March 20). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music. individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Helen and Josef Zimbler Fund, recordings, and in 1957 toured Central and Friday, January 23, 2015 South America. Josef was held in high esteem Friday afternoon’s appearance by Johannes by his colleagues and always performed with Moser is supported by the Helen and Josef them, but never in first chair. Zimbler Fund in the BSO’s endowment, estab- Helen remained in Boston until 1974 when lished with a generous bequest from the she returned to Cincinnati, where, over the Estate of Helen Zimbler supporting the artistic years that followed, she gave numerous vocal expenses of the BSO. A Cincinnati native, Helen recitals and was active as a freelance bass Rigby Zimbler pioneered the place of women player. She passed away in 2005 at the age of in American orchestras when, in 1937, she 91. Josef Zimbler left to Helen his entire estate, accepted a position in the double bass sec- including a collection of correspondence, tion of the Houston Symphony. She was also autographed photographs, and recordings an accomplished singer, actor, and painter. In documenting his many years with the BSO 1939 Helen married Josef Zimbler, who was a and the Zimbler Sinfonietta. This collection BSO cellist from 1932 until his death in 1959. came to the BSO Archives in the spring of Josef Zimbler, born in 1900 in Pilsen (now 2006, through a bequest from the Estate of part of the Czech Republic), was encouraged Helen Zimbler. by his first cousin, Arthur Fiedler, to come to Boston in 1927. During his tenure with the The Boston Symphony Association BSO, Josef founded the Zimbler Sinfonietta, composed of approximately twenty BSO of Volunteers Concert, Saturday, string players and performing, in most cases, January 24, 2015 without a conductor. The Sinfonietta pioneered The performance on Saturday evening is a renewed appreciation of 17th- and 18th- named in honor of the Boston Symphony century repertoire and performance, champi- Association of Volunteers (BSAV). The BSO oned contemporary music, made numerous has relied on the assistance of volunteers for

week 14 bso news 11 decades, but in 1984, a group of loyal and shuttle is run by Commonwealth Worldwide dedicated supporters of the BSO and Tangle- Chauffeured Transportation, is marked “BSO wood first joined forces to ensure that all Shuttle,” and loops to and from Symphony aspects of the BSO’s many educational, service, Hall every fifteen to twenty minutes, depend- and fundraising initiatives were top-notch. ing on traffic. Please visit bso.org for further details. Members of the BSAV are instrumental in helping the BSO carry out its musical mission. They diligently dedicate hours upon It’s Your BSO, Play Your Part: hours to the behind-the-scenes elements for Become a Friend of the BSO marquee events such as A Company Christmas at Pops and Presidents at Pops. BSAV members At Symphony Hall, everyone plays their part. also play a vital role in many BSO initiatives From the musicians on stage, to the crew and programs, such as the Instrument Play- behind the scenes, to the ushers and box grounds, flower decorating, exhibit docents, office staff, it takes hundreds of people to put and the BSO information and membership on a performance, and it takes the dedicated table, among others. And if you have ever support of thousands of Friends of the BSO visited the Symphony Shop or Tanglewood to make it all possible. Every $1 the BSO Glass Houses, engaged the assistance of receives in ticket sales must be matched with an usher at Tanglewood, or taken a tour of an additional $1 of contributed support to Symphony Hall or the Tanglewood campus, cover its annual expenses. Friends of the BSO then you have likely encountered a member play their part to help bridge that gap, keep- of the BSAV in action. ing the music playing to the delight of audi- ences all year long. In addition to joining a During the 2013-14 season, some 720 volun- community of like-minded music lovers, teers donated more than 24,000 hours of becoming a Friend of the BSO entitles you to their time in passionate support of the BSO. benefits that bring you closer to the music The BSAV continues to be a valued partner you cherish. Friends receive advance ticket in helping the BSO maintain its legacy of ordering privileges, discounts at the Symphony musical excellence and sustain its community Shop, and access to the BSO’s online newslet- and educational outreach to spread the joy ter InTune, as well as invitations to exclusive of music far and wide. donor events such as BSO and Pops working rehearsals, and much more. Friends member- Complimentary Shuttle Service ships start at just $100. Contact the Friends Between Prudential Center and Office at (617) 638-9276, friendsofthebso@ bso.org, or join online at bso.org/contribute, Symphony Hall on Friday to play your part with the BSO by becoming Afternoons a Friend. The BSO continues to offer patrons who park in the Prudential Center garage a complimen- BSO Members in Concert tary shuttle service between the Prudential Center and Symphony Hall before and after BSO members Lucia Lin, violin, and Owen the Friday-afternoon subscription concerts. Young, cello, perform a benefit concert for The 23-passenger shuttle picks up passen- the Cape Ann Symphony at the Shalin Liu gers in front of P.F. Chang’s restaurant on Performance Center in Rockport, Massachu- Belvidere Street near Huntington Avenue setts, on Friday, January 23, at 8 p.m. The before the concert, and at Symphony Hall program includes works by Handel-Halvorsen, after the concert. Service begins one hour Mozart, Kodály, and Servais-Ghys. Concert before the concert starts and runs for up to tickets are $35 (general seating); tickets for one hour after it ends (or until there are no the post-concert reception with the artists, more passengers needing return service). The to include live music and refreshments, are

week 14 bso news 13

$15. For tickets, visit rockportmusic.org or call Those Electronic Devices… 978-281-0543. As the presence of smartphones, tablets, and BSO cellist Mihail Jojatu gives a faculty artist other electronic devices used for communica- recital with pianist Wayman Chin on Sunday, tion, note-taking, and photography continues January 25, at 7 p.m. at Edward Pickman Hall to increase, there have also been increased at the Longy School of Music, 27 Garden expressions of concern from concertgoers Street, Cambridge. The program includes and musicians who find themselves distracted music of Haydn, Schumann, and Shostakovich; not only by the illuminated screens on these admission is free. devices, but also by the physical movements In residence at Boston University, the Muir that accompany their use. For this reason, String Quartet—BSO violinist Lucia Lin and and as a courtesy both to those on stage and BSO principal violist Steven Ansell, violinist those around you, we respectfully request Peter Zazofsky, and cellist Michael Reynolds— that all such electronic devices be turned plays a free concert of quartets by Mozart, off and kept from view while BSO perform- Janáˇcek, and Debussy on Monday, January ances are in progress. In addition, please 26, at 8 p.m. at BU’s Tsai Performance Center, also keep in mind that taking pictures of the 685 Commonwealth Avenue. In addition, the orchestra—whether photographs or videos— group plays quartets of Mozart, Janáˇcek, and is prohibited during concerts. Thank you very Dvoˇrák on Monday, February 2, at 7:30 p.m. much for your cooperation. in the Nazarian Center at Rhode Island College, 600 Mt. Pleasant Avenue, Providence. General Comings and Goings... admission is $35 (discounts for seniors and students). For more information, visit ric.edu/ Please note that latecomers will be seated pfa or call (401) 456-8144. by the patron service staff during the first convenient pause in the program. In addition, BSO cellist Mickey Katz performs in recital please also note that patrons who leave the with pianist Constantine Finehouse on Sun- hall during the performance will not be day, February 1, at 3 p.m. at the Weston allowed to reenter until the next convenient Library, 87 School Street, Weston, as part of pause in the program, so as not to disturb the the Hammond Performing Arts Series. The performers or other audience members while program includes music of Beethoven, Schu- the concert is in progress. We thank you for mann, Brahms, and Shostakovich. Admission your cooperation in this matter. is free, but reservations are required and can be made with the concert coordinator at [email protected] or by calling (617) 731-4644, ext. 295.

week 14 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 14 on display 17 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by Richard Strauss, including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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

week 14 andris nelsons 19 Boston Symphony Orchestra 2014–2015

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

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

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

week 14 boston symphony orchestra 21

S Archives BSO

A Brief History of Symphony Hall

The ﬁrst home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to ﬁnance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the ﬁrst auditorium designed in accor- dance with scientiﬁcally-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better... because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer car- ton” one discovers “the gift within—the lovely ornamented interior, with its delicate play

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

week 14 a brief history of symphony hall 23

S Archives BSO

Architect’s watercolor rendering of Symphony Hall prior to its construction

of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the ﬁftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the ﬁrm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the basement. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six- passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu- setts Avenue lobby and box ofﬁce were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Soﬁa Gubaidulina, John Harbison, Walter Piston, Sergei Prokoﬁev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto-

week 14 a brief history of symphony hall 25 26 S Archives BSO

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s ﬁlm version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows “dedicated to the working woman” (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the proscenium arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reﬂect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the ﬁrst steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renova- tions have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 14 a brief history of symphony hall 27 Boston Symphony Orchestra 134th season, 2014–2015

Thursday, January 22, 8pm Friday, January 23, 1:30pm Saturday, January 24, 8pm

Please note that BSO Assistant Conductor Ken-David Masur will lead these concerts in place of Tugan Sokhiev, who has regretfully had to withdraw from his appearances here this week because of flu and a sinus infection. The program remains unchanged. Ken-David Masur Making his subscription series debut in these concerts, Ken-David Masur began his appointment as assistant conductor of the Boston Symphony Orchestra in September 2014. Also this season he leads concert weeks with the San Diego, Munich, Nuremburg, and Omaha symphonies and returns to the National Philharmonic of Russia, where he is a regularly featured guest, for two sets of concerts. In addition he continues as associate conductor of the San Diego Symphony and as principal guest conductor of the Munich Symphony. Recent engagements include appearances with the Boston Symphony Orchestra (at Tanglewood in July 2012, making his BSO debut with an all-Mozart program shared with Kurt Masur), the Dresden, Israel, and Japan philharmonics, Orchestre National de Toulouse, and the Hiroshima and Memphis symphonies. Previously he held appointments as assistant conductor of the Orchestre National de France in Paris from 2004 to 2006 and as resident conductor of the San Antonio Symphony in 2007. In 2010 Mr. Masur conducted the London Symphony Orchestra as one of three finalists in the prestigious Donatella Flick Conducting Competition in London; in 2011 he was the recipient of the Seiji Ozawa Conducting Fellowship at Tanglewood, where he returned by invitation as a Conducting Fellow in 2012. Ken-David Masur received his B.A. from Columbia University in New York City. From 1999 to 2002 he served as the first music director of the Bach Society Orchestra and Chorus there, also touring Germany and releasing a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. He received further training in music at the Leipzig Conservatory, the Detmold Academy, the Manhattan School of Music, and the Hanns Eisler Conservatory in Berlin, where he was a five-year master student of bass-baritone Thomas Quasthoff. Mr. Masur studied conducting primarily with his father Kurt Masur. Together with his wife, pianist Melinda Lee Masur, Ken-David Masur serves as artistic director of the Chelsea Music Festival (chelseamusicfestival.org), an acclaimed annual multi-media/multi-sensorial summer music festival in New York City. Mr. Masur won a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album “Salon Buenos Aires.”

week 14 insert andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, January 22, 8pm Friday, January 23, 1:30pm Saturday, January 24, 8pm | the boston symphony association of volunteers concert

tugan sokhiev conducting

berlioz “le corsaire” overture, opus 21

saint-saëns cello concerto no. 1 in a minor, opus 33 Allegro non troppo—Allegretto con moto—Come prima johannes moser

{intermission} ee Vanderwarker Peter

28 rimsky-korsakov “scheherazade,” symphonic suite, opus 35 Largo e maestoso—Allegro non troppo Lento—Andantino—Allegro molto— Vivace scherzando—Allegro molto ed animato Andantino quasi allegretto Allegro molto e frenetico—Vivo— Spiritoso—Allegro non troppo Maestoso malcolm lowe, solo violin

friday afternoon’s appearance by johannes moser is supported by the helen and josef zimbler fund. friday afternoon’s performance of berlioz’s “le corsaire” overture is supported by a gift in honor of life trustee thelma goldberg. saturday evening's performance of rimsky-korsakov's “scheherazade” is supported by a gift from avi nelson.

bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 9:45, the afternoon concert about 3:15. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 14 program 29 The Program in Brief...

Framing this program are two works by composers known for their canny treatment of the orchestra—the French composer Hector Berlioz’s exuberant overture Le Corsaire, and the masterful Russian colorist Nikolai Rimsky-Korsakov’s evocative Scheherazade. In between comes French composer Camille Saint-Saëns’s popular Cello Concerto No. 1, a wonderfully rich showpiece—somehow absent from BSO subscription concerts since 1990—for the solo instrument, by a composer whose interests were notably wide-ranging.

Berlioz’s storytelling and literary leanings are evident even from just the titles of his most important works. His Symphonie fantastique, composed just a few years after Beethoven’s death, when large-scale storytelling through purely orchestral music was a novelty, is a musical narrative reflecting his own unfulfilled romantic yearnings. Harold in Italy, The Damnation of Faust, and the operas Béatrice et Bénédict and Les Troyens were inspired by Byron, Goethe, Shakespeare, and Virgil, respectively. Le Corsaire, whose title suggests Lord Byron and James Fenimore Cooper, abounds in Berlioz’s signature musical techniques, among them an unsurpassed clarity and invention in his choices of instrumentation; harmonic ingenuity, and subtle thematic transformation (here, a speeded-up version of the slow introduction’s wistful melody becomes the second theme of the Allegro).

Though Saint-Saëns’s A minor cello concerto remains beloved of cellists as a particularly gratifying showcase for their own skills and for the sound of their instrument, it is nowa- days not played nearly as often as it used to be, the composer being more frequently represented in the concert hall by several of his piano concertos (composed for his own virtuoso abilities at the keyboard), his famous Organ Symphony (his Symphony No. 3), and his fancifully inventive Carnival of the Animals, and in the opera house by Samson et Dalila (his first of more than ten operas). Rather than adopt the standard concerto form of three movements in the sequence fast-slow-fast, Saint-Saëns here writes a continuous, twenty-minute work whose fleet opening theme becomes the binding element of the whole, with space along the way for slower-moving interludes noteworthy for their lyricism and whimsy.

Inspired by and named for the storytelling heroine of The Arabian Nights (or The 1,001 Nights), the final work on this program returns to the ideas of musical narrative and thematic transformation. In Rimsky-Korsakov’s Scheherazade, the bold, broad idea introduced in the opening measures returns in numerous, atmospherically varied guises throughout the piece, and extended solos for the orchestra’s concertmaster suggest Scheherazade herself as she preserves her life by spinning tales that captivate and ultimately win over the Sultan-husband who would otherwise kill her. Though Rimsky ultimately decided against using descriptive programmatic titles for each of the four movements, he did tell us essentially all we need to know by explaining his choice of title: “Because this name [Scheherazade] and the title The Arabian Nights connote in everybody’s mind the East and fairy-tale wonders.” Indisputably his music has done just that since it was new.

Marc Mandel

30 Hector Berlioz “Le Corsaire” Overture, Opus 21

HECTOR BERLIOZ was born at La Côte-Saint-André (Départment of Isère), south of Lyon, France, on December 11, 1803, and died in Paris on March 8, 1869. He wrote the original version of this overture in the late summer of 1844 in Nice, on the Mediterranean coast, and led its first performance on January 19, 1845, on which occasion it was called “La Tour de Nice” (“The Tower of Nice”). Berlioz later revised the overture and renamed it “Le Corsaire rouge,” after James Fenimore Cooper’s “The Red Rover,” but published it in 1852 as “Le Corsaire,” suggesting Byron, whose inspiration had served for Berlioz’s “Harold in Italy” of 1834.

THE SCORE OF THE OVERTURE calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, and strings.

In 1831 Berlioz found himself in Rome, after ﬁnally winning, on the fourth attempt, the Paris Conservatoire’s Prix de Rome, a prize that carried with it a stipend and a required year of study in that city. One of his greatest pleasures there was St. Peter’s, where, on a hot summer’s day, as we read in his Memoirs, he would take a volume of Byron and...enjoy the great cool air of the cathedral... absorbed in that burning verse. I followed the Corsair across the sea on his audacious journeys. I adored the extraordinary nature of the man, at once ruthless and of extreme tender- ness, generous-hearted and without pity, a strange amalgam of feelings seemingly opposed: love of a woman, hatred of his kind.

Berlioz had just recently had his own ﬁrst taste of the sea in the course of his journey to Italy: a voyage from Marseilles to Leghorn, during which the destruction of his ship in a violent storm was avoided only through the fortunate presence of a Venetian (“a some- what dubious-looking character,” as Berlioz describes him) who claimed to have captained a warship under the command of Byron himself.

Around this time, too, the composer spent three happy weeks in Nice—this after aborting

week 14 program notes 31 Program page from the first Boston Symphony Orchestra performance of Berlioz’s overture “Le Corsaire” in January 1896 with Emil Paur conducting (BSO Archives)

32 The English romantic poet Lord Byron (1788-1824), whose “Childe Harold” and “The Corsair” inspired Berlioz’s “Harold in Italy” and overture “Le Corsaire”

a scheme to murder the pianist Marie (called Camille) Moke, who was to have married him after his return from Italy, but who in the meantime had married the composer/piano manufacturer Camille Pleyel instead. Three other victims ﬁgured in Berlioz’s plan—Pleyel, Marie’s mother, and himself, since he would obviously have had no recourse but suicide once the triple-killing was accomplished.

In any event, at Nice, the composer availed himself of the orange groves, the sea, and the heather. There he wrote his overture King Lear and began the overture Rob Roy. And there, more than ten years later, he would compose the first version of what would become his overture Le Corsaire. On this later occasion, Berlioz was recuperating from the exhaustion of a mammoth concert he had organized in Paris in conjunction with that city’s Exhibition of Industrial Products in 1844. The concert involved more than one thousand performers; it left him with a reasonable ﬁnancial proﬁt and in a state of nervous collapse. Vacationing in Nice at doctor’s orders, he lodged in a tower overlooking the

week 14 program notes 33

Mediterranean, and this tower provided the original title of the overture he wrote at that time.

Perhaps Jacques Barzun is right in suggesting that the title on which Berlioz ﬁnally set- tled was one that carried a broader range of personal associations, with something of Byron, of Fenimore Cooper, and of the events chronicled here. But what surely matters most is Berlioz’s music and how much of his genius is reﬂected in this score: in the opening passage for rushing strings and chattering winds which has the orchestra on its toes from the very start; in the broad Adagio melody of the introduction, which, at a faster tempo, becomes the second theme of the Allegro; in the particular attention given the individual instruments, all of which manage clearly to be heard even at the loudest moments (listen especially for Berlioz’s use of the recently invented valved cornets); and in the composer’s unerring manipulation of the orchestra as a whole, in passages from the most subdued to the most boisterous.

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

THEFIRSTAMERICANPERFORMANCE of Berlioz’s overture “Le Corsaire” took place on March 7, 1863, with Theodore Thomas leading the Brooklyn Philharmonic at the Brooklyn Academy of Music.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of “Le Corsaire” was on January 11, 1895, with Emil Paur conducting, subsequent BSO performances being given by Karl Muck, Ernst Schmidt, Charles Munch, Richard Burgin, Stanislaw Skrowaczewski, Henry Lewis, Lawrence Foster, Andrew Davis, Seiji Ozawa, Joseph Silverstein, Roger Norrington (the most recent subscription series, in January 1992), James Levine (Opening Night and a single subscription performance in September/ October 2005), and Ludovic Morlot (the most recent Tanglewood performance, on July 28, 2006).

Symphony Shopping

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

week 14 program notes 35

Camille Saint-Saëns Cello Concerto No. 1 in A minor, Opus 33

CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers on December 16, 1921. He composed his A minor cello concerto in Paris in November 1872; it was first performed on January 19, 1873, at the Paris Conservatoire with soloist Auguste Tolbecque— the work’s dedicatee—and the orchestra of the Société des Concerts conducted by Édouard Deldevez.

IN ADDITION TO THE SOLO CELLO, the score calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

If Saint-Saëns had been just a pianist, he would have been as famous and as acclaimed as Anton Rubinstein, Leschetizky, Paderewski, or any other lion of the age. Yet playing the piano was only one of many activities, not all of them concerned with music, that consumed him over a very long life. He was an immensely productive composer, produc- ing music “as an apple-tree bears apples,” as he described it himself. No genre of music was untouched—operas, ballets, symphonies, concertos, chamber music, songs, choral music, all in abundance; even a film score, one of the first ever composed. For many years he was organist at the Madeleine church in Paris; he conducted frequently; he wrote articles for the press and published half a dozen books; he wrote poetry and plays; he took a close interest in astronomy, archaeology, philosophy, and classical literature; he spoke many languages and traveled tirelessly all over Europe and North Africa giving concerts, including a series of all of Mozart’s piano concertos in London; he went to Scandinavia, Russia, Indo-China, and Uruguay; he was involved in the whole spectrum of music-making in France for all of his career, and was a prime mover in the Société Nationale de Musique. His tastes ranged effortlessly from Wagner to the Baroque, and the composers he most admired were Mozart, Rameau, Gluck, Schumann, Berlioz, and Liszt. He was a modernist and a reactionary at the same time, an atheist who composed a huge quantity of religious music, a deeply serious and thoughtful composer whose best-known work is the frivolous Carnival of the Animals.

Such a man is rare in any culture, and now that we can test his achievement solely by his

week 14 program notes 37 Program page from the first Boston Symphony performance of Saint-Saëns’s Cello Concerto No. 1 on December 10, 1881, during the orchestra’s inaugural season, with soloist Carl Bayrhoffer and conductor Georg Henschel (BSO Archives)

38 music and his writings, his immense gifts are not so readily appreciated. Much of his music is bound to remain in obscurity, and there are few who would be bold enough to measure his achievement as a composer against Wagner or Verdi or Brahms, yet in productivity and versatility he is certainly a rival to Dvoˇrák and Tchaikovsky. His works are appealing, superbly crafted, and full of surprises. He is very French in his desire to impress his hearers with the delicacy and rightness of every movement, to display impeccable taste, and to paint always in sensitive colors. His word-setting is faultless, his fugues are full of ingen- ious invention, his piano writing bears the signature of a brilliant pianist.

He wrote five piano concertos (and played them all himself), three violin concertos, and two cello concertos, as well as miscellaneous pieces for violin, horn, harp, and piano with orchestra. Of the two cello concertos, the first is much the more frequently played; in fact it is a piece that every serious cello student confronts because of its excellent illus- tration of the cello’s range of tone and color and the efficient (not impossibly virtuoso) technique that it requires. It is also in a single movement that exhibits a diversity of tempo and mood.

The main idea, introduced at once by the soloist, is a swirl of notes which eventually gives way to a lyrical second theme over sustained strings. When that is done, the music accelerates into some bravura double-stops for the cello and an exultant tutti for the orchestra, like the end of a recapitulation.

week 14 program notes 39

Saint-Saëns in the Church of St. Sulpice, Paris

It then proceeds to a development section, but instead of the normal sequence of a concerto first movement it recapitulates only the lyrical theme and then comes to a halt. With a distinct change of tempo, the muted strings give out a delicate passage, like a minuet on tiptoe. The soloist replies with four notes that will be important later, and then a countermelody to the orchestra’s whisperings, and this fairy-like “second movement” wends its way toward a return of the cello’s four notes, now low in the bass.

Some further development of the opening material intervenes before another change of tempo for what serves as a finale with a theme whose first four notes were so neatly hinted at in the previous section. Although its tempo is “un peu moins vite” (“a bit less lively”) there is enough energy in this part to propel the music toward the final return of the opening music and a coda that concludes exultantly in the major key.

There were many precedents for single-movement concertos from Weber, Schumann, Liszt, and others, yet this work bears witness to Saint-Saëns’s thoughtful ingenuity at handling a single movement with a variety of themes and tempos. Because he was well- known from an early age as a virtuoso pianist and organist, it was assumed that he could not possibly compose. Least of all could he compose for the opera, it was said, which is why his first two operas, The Silver Bell and Samson and Delilah, each had to wait many years before they were performed. His third opera, The Yellow Princess, staged in 1872, was his first opera to be played in Paris, and his energetic organization of a new concert society, the Société Nationale, founded in 1871, enabled him to present his own music in defiance of other concert bodies that had no faith in him.

Thus to have a cello concerto played by the Société des Concerts in 1873, against the wishes of the conductor, was a small triumph, the start of a broader recognition that eventually led to his high standing as one of the most respected and most performed musicians in France.

week 14 program notes 41

The soloist in 1873 was an interesting individual, Auguste Tolbecque, to whom Saint-Saëns dedicated the concerto. His father was one of three Belgian Tolbecque brothers, all vio- linists active in Paris in a variety of orchestras, all frequently confused with each other in the records. Auguste studied at the Conservatoire and like his father and uncles played in a number of orchestras, including that of the Société des Concerts. He also played the viola da gamba, which was very unusual at the time, and was interested in early music. He had a collection of old instruments, now part of the great Brussels Conservatory collection. We are also told that he attempted to revive the “componium,” a composing machine which could improvise on any theme. He wrote an opera, edited a music journal, wrote some books on early instruments, and died in 1919 aged eighty-eight.

A second cello concerto came from Saint-Saëns in 1902. This was in two movements, and its nostalgic tone made it seem very old-fashioned at that time. It has always remained in the shadows of its exhilarating predecessor.

Hugh Macdonald hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich; his most recent books are “Bizet” (Oxford University Press, 2014) and “Music in 1853” (University of Rochester Press, 2012).

THEFIRSTAMERICANPERFORMANCE of Saint-Saëns’s Cello Concerto No. 1 took place on February 17, 1876; Carl Zerrahn conducted the Harvard Musical Association at the Boston Music Hall, with soloist Wulf Fries.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of the concerto was given on December 10, 1881, with soloist Carl Bayrhoffer and Georg Henschel conducting, during the orchestra’s first season. Since then, there have been BSO performances featuring Anton Hekking and Alwin Schroeder (under Arthur Nikisch); Schroeder, Rudolf Krasselt, and Elsa Ruegger (under Wilhelm Gericke); Heinrich Warnke (Max Fiedler); Joseph Malkin (Karl Muck and Ernst Schmidt); Jean Bedetti and Schroeder (Pierre Monteux); Bedetti (Richard Burgin); Gregor Piatigorsky and Bedetti (Serge Koussevitzky); Samuel Mayes (Charles Munch and Burgin); Leslie Parnas (Stanislaw Skrowaczewski); Jules Eskin (William Steinberg); Matt Haimovitz (Leonard Slatkin); Henrich Schiff (the most recent subscription performances, in November 1990 under Catherine Comet), and Han-Na Chang (an Opening Night performance under Seiji Ozawa in September 1996, and the BSO’s most recent Tanglewood performance on July 15, 2001, with James Conlon conducting).

week 14 program notes 43

Nikolai Rimsky-Korsakov “Scheherazade,” Symphonic suite, Opus 35

NIKOLAI ANDREYEVICH RIMSKY-KORSAKOV was born in Tikhvin, Novgorod government, on March 18, 1844, and died in Lyubensk, St. Petersburg government, on June 21, 1908. He composed “Scheherazade” during the summer of 1888, and it was first performed on October 28 that year, under the composer’s direction, in St. Petersburg.

THE SCORE OF “SCHEHERAZADE” calls for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, tam- bourine, side drum, cymbals, bass drum, tam-tam, harp, and strings.

During the winter of 1887-88, Rimsky-Korsakov was engaged in one of his many generous acts of pious devotion to a deceased Russian master: he was orchestrating the opera Prince Igor, left unfinished at the death of its composer, Alexander Borodin. A few excerpts played in concert—among them the overture and the famous Polovtsian Dances— demonstrated the effectiveness of the work. He had to put off original composition while engaged in this labor of love, but he did manage to conceive two new orchestral pieces, the working out of which was to be left to the following summer, spent on an estate in Nyezhgovitzy, near Looga. Both of them turned out to be among his best-known compositions. One was based on episodes from The Arabian Nights, the other on themes from the obikhod, a collection of the most frequently used canticles of the Russian Orthodox Church. Both were finished that summer: the first was Scheherazade, Opus 35, and the second was the overture Svetliy prazdnik (The bright holiday), generally known in English as the Russian Easter Overture. As it happens, they were very nearly the last purely orchestral works Rimsky was to write; for the remaining two decades of his life he devoted his attentions almost totally to operatic composition. Moreover they are the last works that he composed with virtually no Wagnerian influence. There was a sudden dramatic change in Rimsky’s style the following winter, when he was bowled over by a performance of Der Ring des Nibelungen given in St. Petersburg by a German company under the direction of Karl Muck (later to be music director of the Boston Symphony Orchestra),

week 14 program notes 45 Program page from the first Boston Symphony Orchestra performance of Rimsky-Korsakov’s “Scheherazade” in April 1897 with Emil Paur conducting (BSO Archives)

46 Set design by Léon Bakst for a 1910 Ballets Russes production of “Scheherazade” based on Rimsky- Korsakov's music

and Rimsky’s next opera, Mlada, revealed the composer to have been converted into quite the thoroughgoing Wagnerian. (Over a period of years he did work his way back to a musical language of his own; his last and best-known opera, Le Coq d’or, shows few traces of his Wagnerian ﬂing.)

The massive collection of tales known as The Arabian Nights or The Thousand-and-One Nights is built on a framework reflected in the orchestral score of Rimsky-Korsakov’s musical treatment: the Sultan Shakhryar, discovering his wife’s infidelity and convinced of the inconstancy and faithlessness of all women, has sworn henceforth to marry re- peatedly in rapid sequence, putting each wife to death after the first night in order to avoid another betrayal. To put an end to this bloodbath, Scheherazade, the daughter of the Sultan’s most trusted adviser, seeks to become his wife (even though she had been exempted from this fatal rank because of her father’s position at the court). She saves her life after her wedding night by telling a story that captures the Sultan’s interest, breaking it off just at dawn, with the promise of continuing it the next night. Each night, as she continues, her story puts out roots and branches, becoming an intricate network of tales, some told by characters within other tales, so that at no point do all the stories in progress come to their conclusion. Each day at dawn the Sultan puts off her execution for another day in order to hear the end of the story first. Gradually her seemingly artless and endless series of colorful fairy tales softens the cruel heart of the Sultan, and at the end of 1,001 nights he abandons his sanguinary design and accepts Scheherazade as his one, permanent, loving wife.

Of course, The Arabian Nights is much too long a work and much too intricate—in its complex network of tales-within-tales—simply to be translated into music as a storytelling program. Analysts and program annotaters have expended a great deal of ingenuity in attempts to identify precisely which tales Rimsky-Korsakov had in mind, especially since the traditional movement titles are not especially speciﬁc: the introduction purports

week 14 program notes 47 to represent the stern Sultan Shakhryar (in the opening unison phrase) and Scheherazade the storyteller (in the solo violin); the remainder of the first movement is identified with the sea and the ship of Sinbad the sailor; the second movement is the tale of the Prince Kalendar; the third is simply “The Prince and the Princess”; and the finale is a festival at Baghdad and a shipwreck (quite a combination for a single movement!). But it is vain to seek for specific stories as the inspiration for this music. There is, for example, more than one Prince Kalendar with a story to tell in The Arabian Nights, and, as the composer himself noted, he did not by any means reserve the very first theme—the so-called “Sultan’s theme”—for that grim personage, but rather wove it into the entire fabric of the score without regard to the details of storytelling. It becomes the rolling ocean beneath Sinbad’s ship in the first movement, and it appears as an element in the Prince Kalendar’s tale, where the Sultan himself does not appear at all.

Even so, the theme presented ﬁrst (and most often) by the solo violin quite clearly repre- sents Scheherazade herself, telling her colorful tales and here and there inserting her

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week 14 program notes 49 warmhearted personality into them. But the composer, after ﬁrst specifying the traditional titles, wrote in his memoirs, My Musical Life, that he had actually removed all hints as to the subject matter of the tales from a later edition of the score. He added that, in composing Scheherazade, I meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why then, if that be the case, does my suite bear the name, precisely, of Scheherazade? Because this name and the title The Arabian Nights connote in everybody’s mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (which happens to be Scheherazade) entertaining therewith her stern husband.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THEFIRSTBOSTONSYMPHONYPERFORMANCEOF“SCHEHERAZADE”—WHICHWAS ALSOTHEFIRSTAMERICANPERFORMANCE—was given by Emil Paur on April 17, 1897, subsequent BSO performances being given by Paur (again), Wilhelm Gericke, Max Fiedler, Karl Muck, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Wilson, Seiji Ozawa, André Previn, Charles Dutoit, Yuri Temirkanov, John Nelson, Emmanuel Krivine, Miguel Harth-Bedoya, Rafael Frühbeck de Burgos (including the most recent subscription performances, in March 2010), and Kazushi Ono (the most recent Tanglewood performance, on July 12, 2013).

week 14 program notes 51

To Read and Hear More...

A comprehensive modern Berlioz biography in two volumes—Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869—by Berlioz authority David Cairns appeared in 1999 (University of California paperback). Other useful biographies include D. Kern Holoman’s Berlioz, subtitled “A musical biography of the creative genius of the Romantic era” (Harvard University Press); Hugh Macdonald’s Berlioz, in the “Master Musicians” series (Oxford paperback), and Peter Bloom’s The life of Berlioz, in the series “Musical lives” (Cambridge University paperback). Bloom was also editor for The Cambridge Companion to Berlioz (Cambridge University paperback) and Berlioz: Past, Present, Future (Eastman Studies in Music/University of Rochester Press) and more recently produced Berlioz: Scenes from the Life and Work (also Eastman Studies in Music). Macdonald’s Berlioz article from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2 (Norton paperback, also including the 1980 Grove articles on Weber and Mendelssohn); that article was retained, with revisions to the discussion of Berlioz’s musical style, in the 2001 Grove. Macdonald also edited Selected Letters of Berlioz, an engrossing volume of the composer’s letters as translated by Roger Nichols (Norton). The best English translation of Berlioz’s Memoirs is David Cairns’s (Everyman’s Library); the much older translation by Ernest Newman also remains available (Dover paperback).

Recordings of Berlioz’s Le Corsaire include Colin Davis’s with the London Symphony Orchestra (Philips), Charles Dutoit’s with the Montreal Symphony Orchestra (Decca), James Levine’s with the Berlin Philharmonic (Deutsche Grammophon), Sir Alexander Gibson’s with the Royal Philharmonic (Royal Philharmonic Masterworks), Alain Lombard’s with the Strasbourg Philharmonic (Apex), and André Previn’s with the London Symphony Orchestra (EMI).

Camille Saint-Saëns and his World is a collection of essays, articles, and documents edited by Jann Passler (Princeton University paperback, in the Bard Music Festival series). Camille Saint-Saëns: On Music and Musicians is a collection of the composer’s writings translated and edited by Roger Nichols (Oxford University Press). The fullest English-language account of the composer’s life and music is Stephen Studd’s Saint-Saëns: A Critical Biography (Fairleigh Dickinson). Worth seeking out are Saint-Saëns and his Circle by James Harding (Humanities) and French Piano Music by the great French pianist Alfred Cortot (1877-1962), whose observations on Saint-Saëns’s music retain their interest (Da Capo).

week 14 read and hear more 53 54 Johannes Moser has recorded Saint-Saëns’s A minor cello concerto with Fabrice Bollon and the Stuttgart Radio Symphony Orchestra (Hänssler Classic, on a disc of the composer’s “Complete Works for Cello and Orchestra”). Other recordings feature—listed alphabetically—Gautier Capuçon with Lionel Bringuier and the French Radio Philharmonic (Erato), Jacqueline Du Pré with Daniel Barenboim and the New Philharmonia Orchestra (EMI), Pierre Fournier with Jean Martinon and the Lamoureux Orchestra (Deutsche Grammo- phon), Steven Isserlis with Michael Tilson Thomas and the London Symphony Orchestra (RCA), Yo-Yo Ma with Lorin Maazel and the ORTF National Orchestra (Sony), and Pieter Wispelwey with Daniel Sepec and the Deutsche Kammerphilharmonie Bremen (Channel Classics).

Nikolai Rimsky-Korsakov’s autobiography, My Musical Life, goes in and out of print but can be found in libraries, or second-hand via the web. Also useful and in English is Vasily Yastrebstev’s Reminiscences of Rimsky-Korsakov, as translated by Florence Jonas (Columbia University Press). The article on Rimsky in the 2001 edition of The New Grove Dictionary of Music and Musicians is by Marina Frolova-Walker; the article in the 1980 edition of Grove was by Gerald Abraham, who had written a 1945 biography of the composer.

The Boston Symphony Orchestra recorded Scheherazade in 1977 with Seiji Ozawa conducting and then concertmaster Joseph Silverstein performing the violin solos (Deutsche Grammophon). Other recordings of varying vintage include, among a great many others, and listed alphabetically by conductor, Ernest Ansermet’s with the Orchestre de la Suisse Romande (Decca), Daniel Barenboim’s with the Chicago Symphony Orchestra (Warner Classics), Sir Thomas Beecham’s with the Royal Philharmonic (EMI “Great Recordings of the Century”), Leonard Bernstein’s with the New York Philharmonic (Sony), Charles Dutoit’s with the Montreal Symphony (Decca), Valery Gergiev’s with the Kirov Theater Orchestra (Philips), Mariss Jansons’s with the London Philharmonic (EMI), Andris Nelsons’ live on DVD and Blu-ray with the Royal Concertgebouw Orchestra of Amsterdam (C major), and Fritz Reiner’s with the Chicago Symphony Orchestra (RCA).

Marc Mandel

week 14 read and hear more 55

Guest Artists

Tugan Sokhiev

Making his Boston Symphony Orchestra debut this week, Russian conductor Tugan Sokhiev is music director of both the Orchestre National du Capitole de Toulouse (ONCT) and Deutsches Symphonie-Orchester Berlin, as well as artistic director of the Bolshoi Theatre in Moscow. He is in demand for engagements with leading opera houses and orchestras worldwide. Appearances in the 2014-15 season include debuts with the London Symphony Orchestra, Boston Symphony Orchestra, and Cleveland Orchestra, as well as return engagements with the Berlin Philharmonic and Philharmonia Orchestra, to which he returns each season. Mr. Sokhiev has many and varied symphonic projects with both DSO Berlin and ONCT, including tour performances in Europe and Japan. Opera performances include The Maid of Orleans, La traviata, and Carmen at the Bolshoi Theatre and Betrothal in a Monastery at Théâtre du Capitole, Toulouse. Highlights of recent seasons have included critically acclaimed debuts with the Chicago Symphony, Philadelphia Orchestra, the Gewandhaus Orchestra of Leipzig, Vienna Philharmonic, and Berlin Philharmonic, and European touring with the Philharmonia Orchestra and Mahler Chamber Orchestra. He has also appeared as a guest conductor with the Rotterdam Philharmonic, National Philharmonic of Russia, Accademia Nazionale di Santa Cecilia, RAI Turin, La Scala’s concert series, Bournemouth Symphony, Orchestra of the Bayerische Staatsoper in Munich, the Strasbourg, Montpellier, Frankfurt, Swedish Radio, Vienna Radio, and Frankfurt Radio symphonies, the Oslo Phil- harmonic, Royal Concertgebouw, Munich Philharmonic, Orchestre Philharmonique de Radio France, and Orchestre National de France. Mr. Sokhiev made his UK opera debut with La bohème for Welsh National Opera in 2002 and the following year made his debut at the

week 14 guest artists 57 58 Metropolitan Opera House conducting the Mariinsky Opera’s production of Eugene Onegin. In 2004 he made a highly acclaimed first visit to the Aix-en-Provence Festival with The Love for Three Oranges, followed by successful revivals in Luxembourg and at the Teatro Real, Madrid; in 2006 he conducted a much praised Boris Godunov for Houston Grand Opera. Mr. Sokhiev’s discography includes numerous highly acclaimed recordings for Naïve Classique with the Orchestre National du Capitole de Toulouse, including Tchaikovsky’s symphonies 4 and 5, Mussorgsky’s Pictures at an Exhibition, Rachmaninoff’s Symphonic Dances, Prokofiev’s Peter and the Wolf, and, most recently, Stravinsky’s Rite of Spring and Firebird. His first recording with the Deutsches Symphonie-Orchester Berlin, Prokofiev’s Ivan the Terrible with Olga Borodina, was released by Sony Classical in spring 2014.

Johannes Moser

Also making his first Boston Symphony appearances this week, the German-Canadian cellist Johannes Moser has performed with such leading orchestras as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic, and Israel Philharmonic, as well as with the Chicago Symphony, London Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Royal Concertgebouw Orchestra, Tokyo Symphony, Philadelphia Orchestra, and Cleveland Orchestra. Mr. Moser has worked regularly with such renowned conductors as Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Järvi, Semyon Bychkov, Yannick Nézet-Séguin, and Gustavo Dudamel. The 2014-15 season brings debuts with the Boston Symphony Orchestra and Komische Oper Berlin as well as performances with the Krakow Philharmonic, BBC Philharmonic, and Russian Philharmonic orchestras, the Malmö Symphony and San Diego Symphony, the Prague Philharmonia, and a United States tour with the Dresden Philharmonic Orchestra. Possessing a passionate focus on new music, Mr. Moser is working on new compositions by Julia Wolfe, Andrew Norman, and Anna Clyne. In October 2012 he premiered Enrico Chapela’s Magnetar, a concerto for electric cello, with the Los Angeles Philharmonic under Gustavo Dudamel; in the 2013-14 season,

week 14 guest artists 59 also with the Los Angeles Philharmonic, he performed Michel van der Aa’s cello concerto Up-close. From his 2010 American tour with toy pianist Phyllis Chen (“Sounding Off: A Fresh Look at Classical Music”) to outreach activities on campuses and performances in alterna- tive venues, Mr. Moser aims to connect with listeners of all ages. A dedicated chamber musician, he has collaborated with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori, and Jonathan Biss. His many festival performances have included the Verbier, Schleswig-Holstein, Gstaad, and Kissinger festivals, the Mehta Chamber Music Festival, and the Colorado, Seattle, and Brevard music festivals. He was recently announced as recipient of the prestigious 2014 Brahms prize, along with his brother, pianist Benjamin Moser. Johannes Moser has received two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik for his recordings on Hänssler Classics. His concerto debut disc, which features the complete works of Saint-Saëns for cello and orchestra with the Stuttgart Radio Symphony Orchestra, was one of Classics Today’s Top 10 CDs of 2008. Other releases include works by Britten, Bridge, and Bax; Martinu,˚ Hindemith, and Honegger concertos; and a disc pairing Britten’s Cello Symphony and Shostakovich’s Cello Concerto No. 1 with WDR Cologne and Pietari Inkinen. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Johannes Moser began studying the cello at age eight and became a student of Professor David Geringas in 1997. He was the top prizewinner at the 2002 Tchaikovsky Competition, in addition to garnering the Special Prize for his interpreta- tion of the Rococo Variations. A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, he is a keen hiker and mountain biker in what little spare time he has.

week 14 guest artists 61 The Great Benefactors

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

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

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

five million Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • 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 (2)

62 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8)

‡ Deceased

week 14 the great benefactors 63

Administration

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

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 14 administration 65 development

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

Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

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

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

week 14 administration 67 68 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

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

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

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

week 14 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Richard Pokorny • Recruitment/Retention/Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Matthew Hott

week 14 administration 71 Next Program…

Thursday, January 29, 8pm Friday, January 30, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 31, 8pm

asher fisch conducting

dorman “astrolatry” I. Celestial Revelations— II. The Worship of the Stars

prokofiev violin concerto no. 2 in g minor, opus 63 Allegro moderato Andante assai Allegro ben marcato julian rachlin

{intermission}

schumann symphony no. 1 in b-flat, opus 38, “spring” Andante un poco maestoso—Allegro molto vivace Larghetto Scherzo: Molto vivace—Molto più vivace—Tempo I Allegro animato e grazioso

Israeli conductor Asher Fisch makes his BSO subscription series debut with this diverse program. Opening the concert is the Israeli-born composer Avner Dorman’s Astrolatry, a 2012 work inspired by the stars and constellations. These will be the first BSO performances of any music by Dorman, who is a former Tanglewood Music Center Composition Fellow. Lithuanian-born violinist Julian Rachlin returns to Symphony Hall for Sergei Prokofiev’s Violin Concerto No. 2, a 1930s master- piece with a breathtakingly beautiful slow movement. Robert Schumann’s robust Symphony No. 1, composed in his so-called “symphonic year” of 1841, is one of his most energetic and optimistic scores.

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

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

Thursday ‘C’ January 29, 8-9:50 Thursday ‘A’ February 26, 8-10 Friday ‘B’ January 30, 1:30-3:20 Friday ‘B’ February 27, 1:30-3:30 Saturday ‘B’ January 31, 8-9:50 Saturday ‘B’ February 28, 8-10 ASHERFISCH, conductor Tuesday ‘C’ March 3, 8-10 JULIANRACHLIN, violin CHARLESDUTOIT, conductor JULIAFISCHER DORMAN Astrolatry , violin PROKOFIEV Violin Concerto No. 2 STRAVINSKY Concerto in E-ﬂat, Dumbarton SCHUMANN Symphony No. 1, Spring Oaks DEBUSSY Images, for orchestra BRAHMS Violin Concerto Thursday ‘B’ February 12, 8-10:10 UnderScore Friday February 13, 8-10:20 (includes comments from the stage) Thursday ‘D’ March 5, 8-9:45 Saturday ‘A’ February 14, 8-10:10 Saturday ‘A’ March 7, 8-9:45 VLADIMIRJUROWSKI, conductor CHARLESDUTOIT, conductor PIERRE-LAURENTAIMARD, piano MARIUSZKWIECIEN, baritone (King Roger) OLGAPASICHNYK, soprano (Roxana) DEBUSSY Prelude to The Afternoon of a Faun YVONNENAEF, mezzo-soprano (Deaconess) BIRTWISTLE Responses: Sweet disorder and EDGARASMONTVIDAS, tenor (Shepherd) the carefully careless, for piano RAFAŁMAJZNER, tenor (Edrisi) and orchestra (American ALEXRICHARDSON, tenor premiere; BSO co-commission) RAYMOND ACETO, bass (Archbishop) LIADOV From the Apocalypse TANGLEWOOD FESTIVAL CHORUS, STRAVINSKY Suite from The Firebird JOHNOLIVER, conductor VOICESBOSTON,ANDYICOCHEAICOCHEA, conductor Thursday, February 19, 10:30am (Open Rehearsal) SZYMANOWSKI King Roger, Opera Thursday ‘D’ February 19, 8-9:55 in Three Acts Friday ‘A’ February 20, 1:30-3:25 (concert performance sung Saturday ‘A’ February 21, 8-9:55 in Polish with English super- titles; performed without STÉPHANEDENÈVE, conductor intermission) JAMESEHNES, violin STRAVINSKY Suite from Pulcinella PROKOFIEV Violin Concerto No. 1 MILHAUD La Création du monde POULENC Suite from Les Biches

Programs and artists subject to change.

week 14 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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

week 14 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.