Week 3 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 3 andris nelsons music director

season sponsors

Table of Contents | Week 3

7 bso news 17 on display in symphony hall 18 andris nelsons’ inaugural season as music director 20 bso music director andris nelsons 22 the boston symphony orchestra 25 andris nelsons, on and off the podium 33 this week’s program

Notes on the Program

34 The Program in Brief… 35 Ludwig van Beethoven 41 Béla Bartók 49 Pyotr Ilyich Tchaikovsky 59 To Read and Hear More…

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

the friday preview talk on october 3 is given by bso director of program publications marc mandel.

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

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 • 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 • Arthur I. Segel • 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 3 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Charles Larkin • 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 3 trustees and overseers 5

BSO News

Boston Symphony Chamber Players 2014-15 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 19 with music of J.S. Bach, Nielsen, and Brahms. Complete details of this season’s programs, which span the full spectrum of chamber music repertoire and include guest appearances by pianists Emanuel Ax and Jean-Yves Thibaudet, are shown in the display ad on page 13. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, call (617) 266-1200 or visit bso.org.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 returns in 2014-15 to heighten your enjoyment of BSO concerts. Six Wednesday- evening “Are You Listening?” sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra (October 29, November 19, January 14, February 18, March 11, and April 8) are designed to enhance your listening abili- ties and appreciation of music by focusing on upcoming BSO repertoire. The specific musical works to be discussed are posted at bso.org. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, three Tuesday-evening “Insider’s View” sessions with BSO musicians and administrative staff focus on behind-the-scenes activities at Symphony Hall (September 30, January 20, and March 24). By popular demand, two of these sessions—the first and third—will again offer round-table discussions with BSO musicians. All of these sessions take place from 5:30- 6:45 p.m. at Symphony Hall, each being followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. Group rates (for 20 or more people) will apply to both the BSO 101 sessions and the receptions. To reserve your place for the date or dates you’d like to attend, please e-mail [email protected] or call (617) 638-9395.

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 five Friday afternoons during the

week 3 bso news 7

2014-15 season: October 17 (string quartets of Nielsen and Schubert), November 14 (a program of Spanish and Latin American music), February 13 (music of Tchaikovsky, Sibelius, Mozart, and Brahms), March 6 (Stravinsky’s L’Histoire du soldat), and March 20 (string quintets of Mozart). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music.

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 October 3 is given by Marc Mandel; next week’s, on October 10, will be given by Robert Kirzinger.

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. This program celebrates the amateurs’ talent and continued commitment to music while also providing access to the resources of the Boston Symphony Orchestra and Symphony Hall. Onstage at Symphony is designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but who have pursued alter- nate career paths. The 2015 program activities will take place at select times from Wednesday, January 28, to Saturday, January 31. The group’s final performance will be free and open to the public. Applications must be submitted by October 17. For more information, please visit bso.org/onstageatsymphony. 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 83 of this program book.

BSO Season Sponsors Return: the long-term success of our business. Bank Bank of America and of America is one of the world’s leading cor- EMC Corporation porate supporters of the arts, supporting thousands of arts organizations worldwide. Longstanding major corporate partners Bank For additional information, please visit of America and EMC Corporation return as museums.bankofamerica.com/arts. “The BSO the BSO Season Sponsors for the 2014-15 attracts visitors from around the world with season. As a company with employees and engaging programming and a history steeped clients in more than 40 countries around the in powerful performances,” said Bob Gallery, world, Bank of America is committed to a Bank of America Massachusetts president. diverse program of cultural support, designed “It’s long been a source of pride for the to engage individuals, organizations, commu- Massachusetts arts community, and a driver nities, and cultures in creative ways to build of local economies from Boston to the mutual respect and understanding of the arts. Berkshires.” By partnering with our stakeholders, we create shared value that empowers individuals EMC is a global leader in enabling businesses and communities to thrive and contributes to and service providers to transform their oper-

week 3 bso news 9 ations and deliver information technology as ning in 1999. Mr. Martignetti joined the BSO a service (ITaaS). Through innovative prod- Board of Overseers that same year, and was ucts and services, EMC accelerates the jour- elected to the Board of Trustees in 2007. He ney to cloud computing, helping IT depart- currently serves as a Vice-Chair of the Board ments to store, manage, protect, and analyze of Trustees and is a member of its Executive their most valuable asset—information—in Committee. Mr. Martignetti is also Chair of a more agile, trusted, and cost-efficient way. the Trustees Nominating and Governance “As a Great Benefactor, EMC is proud to help committees, and a member of the Leadership preserve the wonderful musical heritage of Gifts and Overseers Nominating committees. the BSO, so that it may continue to enrich Mr. and Mrs. Martignetti served as co-chairs the lives of listeners and create a new gener- of Opening Night at Symphony for the 2011- ation of music lovers, not only in Boston, but 2012 season, which raised more than $1.1 mil- around the world,” said Joe Tucci, Chairman lion for the BSO, a record-breaking goal for and CEO, EMC Corporation. the gala at the time. The couple also served as co-chairs of Opening Night at Pops in 2007, and have served as members of many The Fairmont Copley Plaza Begins its Opening Night committees. In addition to 13th Season as the Official Hotel of their support of Opening Night galas, BSO the BSO corporate events, the Symphony Annual The Fairmont Copley Plaza, the Official Hotel Fund, and the Tanglewood Annual Fund, the of the BSO and Boston Pops, has extended Martignettis have generously supported the its unprecedented partnership with the BSO Beyond Measure Campaign. through the 2016-17 season. A BSO Great Mr. Martignetti is president of Martignetti Benefactor, The Fairmont Copley Plaza has Companies, the leading distributor of wine been a symbol of the city’s history and ele- and spirits in New England. In addition to his gance since 1912. To celebrate its centennial, involvement at the Symphony, Mr. Martignetti the landmark hotel completed a $20 million serves as chairman of the Board of Trustees renovation and restoration, including one at Tabor Academy in Marion, MA. He has of Boston’s hottest restaurant destinations, also served as a trustee of the Brooks School OAK Long Bar + Kitchen. in North Andover, MA, and the Park School in “The Fairmont Copley Plaza, together with Brookline, MA. Mrs. Martignetti is also an Fairmont Hotels & Resorts, is proud to be the active volunteer throughout Boston, current- Official Hotel of the BSO,” said Paul Tormey, ly serving on the President’s Advisory Council Fairmont’s regional vice-president and general and the Women’s Health Leadership Council manager. “The BSO is a New England tradition at Brigham and Women’s Hospital, where she and, like The Fairmont Copley Plaza, a symbol previously served as a member and vice-chair of Boston’s rich tradition and heritage. We of the BWH Trust, president of the Friends of look forward to many years of supporting this Brigham and Women’s Hospital, and on the wonderful organization.” hospital’s Board of Trustees for twelve years. She is also involved at Harvard School of Public Health, where she is a member of the The Carmine A. and Beth V. HSPH Leadership Council and Leadership Martignetti Concert, Wednesday, Council Executive Committee, and a former October 1, 2014 member of the Board of Dean’s Advisors The performance on Wednesday evening is (formerly the Dean’s Council). Mr. and Mrs. supported by a generous gift from Great Bene- Martignetti are both graduates of Boston factors Carmine A. and Beth V. Martignetti. College, where they remain actively involved Mr. and Mrs. Martignetti have been BSO sub- as alumni. They have three children and reside scribers for sixteen consecutive years, begin- in Chestnut Hill, MA.

week 3 bso news 11

The John F. Cogan, Jr., and Jack was elected to the BSO Board of Over Mary L. Cornille Concert, seers in 1984; he served as its vice-chairman Thursday, October 2, 2014 from 1987 to 1989 and chairman from 1989 to 1992. He was elected a Trustee in 1992 The performance on Thursday evening is and vice-chairman of the Board of Trustees supported by a generous gift from BSO Life in 2003, a position he held until 2007, when Trustee John F. “Jack” Cogan, Jr., and his wife, he was elevated to Life Trustee. During his Mary L. Cornille. Jack began attending con- tenure on the board, Jack served on many certs at Symphony Hall as a young person, board committees, including as a chair of the and has held the same Thursday-evening Principal Gifts and Campaign Planning com- subscription seats since the 1960s. As Great mittees. He is currently a member of the Benefactors, Jack and Mary have given gener- Budget, Investment, and Leadership Gifts ously to numerous initiatives at the BSO, committees. including the Artistic Initiative, the Tanglewood Forever Capital Fund, and the Annual Funds. Jack is a former chairman and managing They have named The Cogan/Cornille partner of the law firm Hale and Dorr (now Corridor—the corridor housing the photo WilmerHale). Also a leader in the financial display of BSO musicians—at Symphony Hall, services industry in Boston and beyond, Jack and they established the John F. Cogan, Jr., recently retired as trustee, president, and and Mary L. Cornille Chair, endowed in per- chief executive officer of the Pioneer Funds, petuity, which is currently held by cellist where he has served for more than fifty con- Owen Young. Jack and Mary are members secutive years. In recognition of his distin- of the Higginson Society at the Encore level, guished service, Jack was elected a trustee the Koussevitzky Society at the Maestro level, emeritus of the Pioneer Funds and chairman and the Walter Piston Society. emeritus of Pioneer Investment Management

week 3 bso news 13

USA Inc. Active in the community, he is a Nashua, New Hampshire; and Rhode Island. member of the Harvard Law School’s Visiting Newly added this season, for selected con- Committee and Dean’s Advisory Board, the certs, is a bus from the Holyoke/Amherst Harvard University Art Museums’ Visiting area. Taking advantage of your area’s bus Committee, and chairman emeritus of the service not only helps keep this convenient Museum of Fine Arts, Boston. Jack is also service operating, but also provides opportu- trustee emeritus of Boston Medical Center nities to spend time with your Symphony (and past chairman of its predecessor, friends, meet new people, and conserve University Hospital), and a Fellow of the energy. If you would like further information American Academy of Arts and Sciences. about bus transportation to Friday-afternoon Boston Symphony concerts, please call the Mary is an alumna of Wellesley College and Subscription Office at (617) 266-7575. Boston University, where she received a master’s degree in art history. She is an overseer of the Museum of Fine Arts, Boston and the Those Electronic Devices… Epiphany School in Dorchester. She is also As the presence of smartphones, tablets, and a member of WGBH’s Overseers Advisory other electronic devices used for communica- Board and Music Committee. tion, note-taking, and photography continues to increase, there have also been increased BSO Members in Concert expressions of concern from concertgoers and musicians who find themselves distracted BSO members Lucia Lin, violin, and Cathy not only by the illuminated screens on these Basrak, assistant principal viola, are soloists devices, but also by the physical movements in Mozart’s Sinfonia concertante in E-flat, that accompany their use. For this reason, K.364, with the Boston Classical Orchestra and as a courtesy both to those on stage and led by music director Steven Lipsitt, on those around you, we respectfully request Sunday, October 5, at 3 p.m. at Faneuil Hall. that all such electronic devices be turned Also on the program are J.S. Bach’s Branden- off and kept from view while BSO perform- burg Concerto No. 2 and Beethoven’s Sym- ances are in progress. In addition, please phony No. 1. Tickets range from $37 to $74 also keep in mind that taking pictures of the (discounts for students and seniors). For fur- orchestra—whether photographs or videos— ther information or tickets, call (866) 811-4111 is prohibited during concerts. Thank you very or visit bostonclassicalorchestra.org. much for your cooperation.

Friday-afternoon Bus Service to Comings and Goings... Symphony Hall Please note that latecomers will be seated If you’re tired of fighting traffic and searching by the patron service staff during the first for a parking space when you come to Friday- convenient pause in the program. In addition, afternoon Boston Symphony concerts, why please also note that patrons who leave the not consider taking the bus from your com- hall during the performance will not be munity directly to Symphony Hall? The BSO allowed to reenter until the next convenient is pleased to continue offering round-trip bus pause in the program, so as not to disturb the service on Friday afternoons at cost from the performers or other audience members while following communities: Beverly, Canton, Cape the concert is in progress. We thank you for Cod, Concord, Framingham, Marblehead/ your cooperation in this matter. Swampscott, Wellesley, Weston, the South Shore, and Worcester in Massachusetts;

week 3 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 • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 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 Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 3 on display 17 Andris Nelsons’ Inaugural Season as Music Director In his first season as the BSO’s music director, Andris Nelsons conducts ten programs at Symphony Hall beginning with a special inaugural gala on September 27.

In his first season as the BSO’s fifteenth music director, Andris Nelsons conducts ten programs at Symphony Hall, starting with a sold-out, one-night-only event to be remem- bered for years to come. Making her Symphony Hall debut, acclaimed soprano Kristine Opolais and, in his BSO debut, tenor Jonas Kaufmann, a frequent collaborator, join Maestro Nelsons and the orchestra for an evening of arias and duets from operas by Wagner, Mascagni, Catalani, and Puccini. This special inaugural concert on September 27 begins with Wagner’s Tannhäuser Overture—the work that first inspired a five-year-old Nelsons to a life in music—and concludes with Respighi’s spectacular orchestral showcase, Pines of Rome. The following week, reflecting Maestro Nelsons’ lifelong immersion in the world of symphonic as well as operatic repertoire, the BSO itself takes Andris Nelsons center stage when he leads a powerful all-orchestral program of Beethoven, Bartók, and Tchaikovsky (October 1-2-3).

In November (November 6-22), for his second group of programs, Maestro Nelsons joins forces with several longtime collaborators for music with a Scandinavian and Slavic accent, including works of Sibelius, Tchaikovsky, and Rachmaninoff, plus the world premiere (November 20-21-22) of a BSO commission for chorus and orchestra from the conductor’s compatriot, Latvian composer E¯riks Ešenvalds. Soloists for these program include the young Latvian violinist Baiba Skride in Sofia Gubaidulina’s compelling Baiba Skride Offertorium for violin and orchestra (November 6-7-8-11); Swedish trumpeter Håkan Hardenberger in the American premiere of Australian composer Brett Dean’s Dramatis personae (November 13-14-15-18), and Yo-Yo Ma in Prokofiev’s Symphony-Concerto for cello and orchestra (November 20-21-22). On the latter program, the Tanglewood Festival Chorus is featured in the new Ešenvalds work, as well as in the Boston premiere of John Harbison’s Koussevitzky Said:, and in Rachmaninoff’s The Bells, which also introduces three debuting vocal soloists to BSO audiences.

When he returns in January for two programs (January 8-17), Maestro Nelsons focuses exclusively on Classical and Romantic repertoire. The first of these programs includes Brahms’s Variations on a Theme by Haydn, Haydn’s rarely heard Symphony No. 90, and Strauss’s fantastical Don Quixote with the young French Gautier Capuçon cellist Gautier Capuçon and BSO principal violist Steven Ansell (January 8-19-10). The second pairs Mozart’s probing C minor piano concerto, K.491, featuring the exciting German pianist Lars Vogt, and Bruckner’s resounding Symphony No. 7 (January 15-16-17).

18 For the final, wide-ranging concerts of his first season as BSO music director, Andris Nelsons leads three programs (March 26-April 14) encompassing an impressive mix of repertoire and guest artists. Four major orchestral works—Mahler’s Symphony No. 6 (March 26-27-28-31); Shostakovich’s Symphony No. 10 (April 2-3-4); the Boston premiere of Gunther Schuller’s Dreamscape, commissioned originally for the Tanglewood Music Center Orchestra (April 9-10-11-14); and a beloved orchestral showpiece, Strauss’s Ein Heldenleben (also April 9-10-11-14)— are juxtaposed with performances by three returning guest artists: organist Lars Vogt Olivier Latry, in the world premiere of a concerto commissioned from American composer Michael Gandolfi, to showcase Symphony Hall’s spectacular Aeolian-Skinner organ (March 26-27-28-31); violinist Christian Tetzlaff, in Beethoven’s Violin Concerto (April 2-3-4); and pianist Richard Goode, in Mozart’s elegant B-flat piano concerto, K.595, his final work in the genre (April 9-10-11-14).

Tickets for these concerts (except for the sold-out inaugural concert of September 27) are available by phone through SymphonyCharge Christian Tetzlaff at (617) 266-1200 or 1-888-266-1200; online at bso.org, or in person at the Symphony Hall box office. Please note that there is a $6.25 service fee for all tickets purchased online or through SymphonyCharge.

Richard Goode

week 3 19 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

20 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 3 andris nelsons 21 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 Alexandre Lecarme* Ronald G. and Ronni J. Casty Assistant Principal Nancy and Richard Lubin chair Malcolm Lowe chair Anne Stoneman chair, endowed Concertmaster in perpetuity Adam Esbensen* Charles Munch chair, Ala Jojatu* Richard C. and Ellen E. Paine endowed in perpetuity (position vacant) chair, endowed in perpetuity Lois and Harlan Anderson chair, Tamara Smirnova second violins endowed in perpetuity Blaise Déjardin* Associate Concertmaster Haldan Martinson Helen Horner McIntyre chair, Robert Barnes Principal endowed in perpetuity basses Carl Schoenhof Family chair, Michael Zaretsky Edwin Barker Alexander Velinzon endowed in perpetuity Mark Ludwig* Principal Assistant Concertmaster Julianne Lee Harold D. Hodgkinson chair, Robert L. Beal, Enid L., and Rachel Fagerburg* Assistant Principal endowed in perpetuity Bruce A. Beal chair, endowed Charlotte and Irving W. Rabb in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Lawrence Wolfe Elita Kang Rebecca Gitter* Assistant Principal Sheila Fiekowsky Maria Nistazos Stata chair, Assistant Concertmaster Shirley and J. Richard Fennell Wesley Collins* endowed in perpetuity Edward and Bertha C. Rose chair, chair, endowed in perpetuity endowed in perpetuity Jonathan Chu*˚ Benjamin Levy Nicole Monahan Leith Family chair, endowed Bo Youp Hwang § Daniel Getz* David H. and Edith C. Howie in perpetuity John and Dorothy Wilson chair, chair, endowed in perpetuity endowed in perpetuity cellos Dennis Roy Ronan Lefkowitz Lucia Lin Jules Eskin Joseph Hearne Dorothy Q. and David B. Arnold, Vyacheslav Uritsky* Principal Jr., chair, endowed in perpetuity James Orleans* Jennie Shames* Philip R. Allen chair, endowed Ikuko Mizuno in perpetuity Todd Seeber* Ruth and Carl J. Shapiro chair, Valeria Vilker Kuchment* Eleanor L. and Levin H. Campbell Martha Babcock endowed in perpetuity chair, endowed in perpetuity Tatiana Dimitriades* Associate Principal Vernon and Marion Alden chair, John Stovall* Nancy Bracken* Si-Jing Huang* endowed in perpetuity Stephanie Morris Marryott and Thomas Van Dyck* Franklin J. Marryott chair Victor Romanul* Sato Knudsen Bessie Pappas chair Aza Raykhtsaum* Mischa Nieland chair, endowed flutes Catherine and Paul Buttenwieser Wendy Putnam* in perpetuity chair Robert Bradford Newman chair, Elizabeth Rowe Mihail Jojatu endowed in perpetuity Principal Bonnie Bewick* Sandra and David Bakalar chair Walter Piston chair, endowed Mary B. Saltonstall chair, Xin Ding* Owen Young* in perpetuity endowed in perpetuity Glen Cherry John F. Cogan, Jr., and Mary L. * Clint Foreman James Cooke* Cornille chair, endowed Myra and Robert Kraft chair, Kristin and Roger Servison chair Yuncong Zhang* in perpetuity endowed in perpetuity Catherine French* Mickey Katz* Elizabeth Ostling Donald C. and Ruth Brooks violas Stephen and Dorothy Weber Associate Principal Heath chair, endowed chair, endowed in perpetuity Steven Ansell Marian Gray Lewis chair, in perpetuity Principal endowed in perpetuity Charles S. Dana chair, endowed in perpetuity

22 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 3 boston symphony orchestra 23

Andris Nelsons, On and Off the Podium As Andris Nelsons steps into the role of BSO music director this fall, his artistic gifts and passion for music have already been apparent on the podium at Symphony Hall and at Tanglewood. The BSO has asked ten people who know the conductor for their thoughts on the relationship between his unique personality and his approach to making music. Here are their responses, as compiled and edited by Boston Globe cultural correspondent Karen Campbell.

Photos of Andris Nelsons by Marco Borggreve

CORNELIA SCHMID and KAREN MCDONALD As president of Konzertdirektion Schmid, the artist management firm representing Andris Nelsons, Cornelia Schmid has had the pleasure of helping facilitate the conductor’s burgeoning career over the years. Karen McDonald, the director of the firm’s London office, is Nelsons’ manager. “We have very fond memories with Andris from his days at the Latvian National Opera, to his time with the Nordwestdeutsche Philharmonie, his acclaimed tenure with the CBSO in Birmingham, and now his bright future with the Boston Symphony and the fan- tastic journey which is about to begin! Andris is an exceptional artist in many, many ways, but something that most struck us, from our very initial meetings and in early rehearsals and performances, is his extremely collaborative and inclusive approach to music-making with an orchestra. Andris has such a deep insight into and such a human response to music, which makes every single performance so intense and heartfelt. Furthermore, his enthusiasm and joy on the podium are so contagious. He is an extremely warm and honest person, who is very sincere and loyal. These are qualities that are not so easy to come by in a musician of his stature. Boston Symphony audiences can only but look forward to a fresh and exciting journey with their new music director, who is so looking forward to getting to know his new musical home and family and becoming part of the orchestra’s rich musical tradition! We can say that Andris Nelsons will absolutely

week 3 25 encourage Boston audiences to open their hearts and minds musically—this is at the very essence of his music-making.”

STEPHEN MADDOCK As chief executive of the City of Birmingham Symphony Orchestra since 1999, Stephen Maddock was responsible for Andris Nelsons’ 2007 appointment as the CBSO’s tenth music director. (2014-15 is his final season in that role.) “Andris had a huge impact here right from the start. His rapport with the musicians of the CBSO was immediately evident to our audiences and to the critics, and has remained just as warm ever since. Andris has a really fresh approach to everything he conducts, but he is also aware that he is the servant of the music, not its master. He is scrupulous in his attention to detail, both in rehearsal and in concert, and he takes great care to follow the composer’s instructions as set down in the score. Beyond that, he has a terrific ability to inspire those around him.” Maddock says audiences have been similarly impressed. “There is always a clear con- nection between what you see and what you hear, so however extravagant his gestures, you can always see and hear the musical effect he has in mind. He is certainly the most physical conductor I know. I have lost count of the number of times he has sent his baton flying into the orchestra or knocked over a music stand in his enthusiasm during a performance. The front desks of BSO strings should watch out!” Maddock describes Nelsons as surprisingly humble and sometimes quite shy, but main- tains he has “a very English sense of humor, with quite a wicked sense of fun and plenty of scatological references in his rehearsal instructions, which can be very colorful! Off the podium he likes to laugh, and particularly enjoys American comedies on TV.” And what might surprise BSO audiences to learn about their new maestro? Maddock says, “He only rarely drinks alcohol, and he eats mountains of fresh fruit before each performance.” He adds, “He was taken to see Tannhäuser at the age of five. I think this was cruel and unusual punishment, but he says it’s what made him want to be a conductor!”

26 CHRISTOPHER MORLEY Christopher Morley, chief music critic of the Birmingham Post, first heard of Nelsons in September 2007, when, as he puts it, a “huge bubble of excitement exploded” when the conductor led a private rehearsal with the City of Birmingham Symphony Orchestra to test the acoustics of the newly refur- bished Birmingham Town Hall. The following year, Nelsons became the CBSO’s music director. Morley says, “Andris has developed such a trust in [the CBSO]—and they in him— that his conducting technique has become an unselfconscious exten- sion of himself. In most other conductors, his gestures would be char- latan. In him they are honest, genuine, and totally responsive to what the music is communicating. Andris has brought out the humanity in the [CBSO], and has allowed them to use their technical expertise to reach out to visionary musical values.” Morley cites honesty, humility, and the capacity to share as personal qualities that inform Nelsons’ artistry. “He is a man confident enough (though he still doesn't realize it) to have no preening ego...always thoughtful, always illuminating.” Morley also notes Maestro Nelsons’ huge devotion to family. “He impressed everyone so much when he abandoned everything to rush to his seriously ill baby daughter and be there with his wife. No man can be bigger than that.” He adds, “Andris is a remarkable man. He is gifted beyond dreams, but his sole desire is to use those gifts to make music with colleagues whom he brings into his ‘family.’ I just hope Boston enables him to achieve riches comparable with those he has mined with the amazing players of the City of Birmingham Symphony Orchestra.”

week 3 27 CHRISTINE LEMKE-MATWEY Prominent German music journalist and radio host Christine Lemke-Matwey has known Nelsons since 2002, when he conducted parts of Wagner's Ring cycle at the opera of his hometown Riga. “From the very first moment when he entered the pit, I knew that he is a genius—something in his musical and artistic aura. The conditions of working in Riga used to be rather bad in those days, but all this didn't matter. A bright light was shining in the pit, and this was Andris’ love for the score, for Wagner, for the audience. After- wards I got to know him personally, and I asked him how he managed to overcome all the bad conditions. He looked at me with his Baltic blue eyes, being rather emotionally and physically exhausted after five hours of conducting, and said, ‘I don't know, I'm just full of music.’ When he talks about music he talks in pictures, in metaphors, which is absolutely inspiring. He is always telling stories, and he never stops asking himself, ‘Do I know enough about life to conduct this piece or the other?’” She adds that people “definitely should not forget where he comes from. Of course Andris' career is international. But in his heart, he is Latvian. Being raised in the very last years of the Soviet Union, he learned a lot about life under oppression. From his childhood on, Andris knew what longing for freedom meant. He found his freedom early in music and I guess still finds it there.”

CHRISTIAN MERLIN French music critic/musicologist Christian Merlin first saw Andris Nelsons conduct in February 2009, during the conductor’s debut in Paris with the Orchestre National de France. The program centerpiece was Richard Strauss’s Ein Heldenleben, and Merlin says he was shocked at the level of Nelsons’ talent. “In a few years he became one of the very best in the world, both in symphonic and operatic repertoire, which is quite unique,” Merlin asserts. “He always was stunning in very spectacular or expressive works, but sometimes a little bit superficial in deep or inner pieces: one cannot reproach him for that anymore. He has a sort of animal magnetism that captivates both orchestra musicians and audience. His tremendous physical presence transmits an overwhelming energy; his music- making is more visceral than intellectual. What I particularly like is that for him technical achievement, accuracy, and precision of details are not so important as expression and emotional depth, which is an exception at a time when musicians are perfection-obsessed. He reminds me of the great maestros of the past. I was surprised by his humility.”

28 BAIBA SKRIDE World-renowned Latvian violinist Baiba Skride, who made her BSO debut with Nelsons on the podium in January 2013 and is soloist with him again this November, has known the conductor since the two were teenagers and went to the same school. They first performed together fourteen years ago and have since shared the stage “more times than I can count!” Skride elaborates: “We have a great chemistry since the first time, and every time it is a joy to play with him, to have that security, to know that everything is technically perfect. And the orchestras love him and want to do everything he asks.” From a soloist’s perspective, Skride says Nelsons is much more than just an accom- panist on the podium. “He also makes me inspired. It’s a give-and-take for both of us, and he makes me want to bring out my best. He’s a very passionate and inspiring person.” Skride says Nelsons also has a natural ability to bring people together. “He man- ages to get everyone on board, and his musicians notice he gives himself up completely to the music. He is intellectual and smart, but is also passionate for music, and he makes everyone love what he does. He is a lovely person, down to earth, never arrogant. He never sets himself above everyone else. He’s very humble. But offstage, he’s still a musician through and through. He is always thinking of music.”

HÅKAN HARDENBERGER Swedish trumpeter Håkan Hardenberger, considered by many to be today’s preeminent soloist on the instrument, first performed with Andris Nelsons twelve years ago during a tour with Latvian orchestras. Since that time, Nelsons, a former trumpet player himself, has become one of Hardenberger’s favorite conductors. “It is easy to make music with him, very natural,” Hardenberger says. “He is very immediate, completely there, very present in the moment. I can do anything, and he will be there with me. And he likes the trumpet and understands my mission. The music-making is from the heart. There is nothing in between the score and what happens onstage.” Hardenberger adds, “He’s a very genuine and kind person, very unaf- fected by the business.” Having appeared together at Tanglewood this past summer, Hardenberger, Nelsons, and the orchestra join forces at Symphony Hall this November for the first time.

JAMES SOMMERVILLE BSO principal horn James Sommerville is not only an award-winning solo and orchestral player but a conductor, serving as music director of the Hamilton (Ontario) Philharmonic Orchestra. “What sets Andris apart is the humanity and warmth he brings, not just to his interpretations of our repertoire, but to his interactions with us from the podium, and his general attitude toward his colleagues on the stage. He seems to me to be genuinely compassionate, thoughtful, and sincere in his wish to make the BSO an ensemble that thrives foremost on collaboration, mutual respect, and artistic inspiration. He is the kind of conductor that encourages a player to take chances, to try new things, to take risks, knowing they won't see a sour face or a

week 3 29 disapproving glance. I feel like already we are playing with a warmer, yet more varied tone palette than we were previously. One of the highlights so far with him was the Brahms Second Symphony we did at Tanglewood; there was an amazing sense of drama, a lot of fire, a lot of dark clouds and bright sunshine, just as this music should have. His approach to music-making represents the best that the BSO can strive for, in terms of freedom of expression, faithfulness to the spirit of the music that we play, and a playful yet passionate style as an artist and as a colleague.”

MALCOLM LOWE The BSO’s concertmaster since 1984, violinist Malcolm Lowe has performed with most of the world’s most esteemed conductors. He was a member of the search committee that chose Nelsons as the BSO’s next music director and was thrilled with the appointment. “He’s so engaged, so positive. His desire to share the process of making music together is very strong, so one feels that you’re not just being dictated to, but trying to develop an inspiring path for both of you to follow that is inspiring to the audience as well. One of the most remarkable things about him is that he is very magnanimous and open. He’s not reluctant to tell us how he wants to do things but listens to the orchestra as well, adapting to what we might need. I think he is reaching out to everyone in the orchestra in a great way. His accessibility at breaks and in rehearsal shows that he is very open to anyone in the orchestra, and I think he is cultivating a really good relationship.”

In these days of jet-setting conductors who rarely spend enough time with one orchestra to develop a distinctive joint profile, Lowe believes that Nelsons may have the right stuff to buck the trend.

“He’s young but has a Borggreve Marco background that will support him as he grows in this position. Being young and will- ing to listen to the orchestra affords the chance to really develop a distinctive sound together. I think it will be an incredible adventure for him— and for the BSO.” Andris Nelsons and Malcolm Lowe during a Symphony Hall rehearsal in October 2013

karen campbell is a cultural correspondent for the Boston Globe and freelance writer/editor specializing in the arts, health, and education.

week 3 31

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

Wednesday, October 1, 8pm | the carmine a. and beth v. martignetti concert Thursday, October 2, 8pm | the john f. cogan, jr., and mary l. cornille concert Friday, October 3, 1:30pm andris nelsons conducting beethoven symphony no. 8 in f, opus 93 Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace bartók suite from the one-act pantomime “the miraculous mandarin,” opus 19

{intermission} tchaikovsky symphony no. 6 in b minor, opus 74, “pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 10, the Friday concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. 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 3 program 33 The Program in Brief...

Following his compositionally intense decade of 1800 to 1810, Beethoven wrote relatively few major works during the eighteen-teens. His health was variably bad, his hearing nearly gone, and he became embroiled in his brother Johann’s domestic life. He never- theless managed to compose two of his most high-spirited symphonies during this time— the much-loved Seventh in 1813, and a few months later the Eighth, which in spite of its charms remains a lesser-known work. The Eighth is not only the shortest of Beethoven’s symphonies but also among his most consistently exuberant scores. Nonetheless it addresses many of the progressive musical ideas that preoccupied the composer through the rest of his life.

Béla Bartók’s Miraculous Mandarin is at a very different place on the mood spectrum from Beethoven’s Eighth Symphony. This was one of three stage works Bartók composed in the span 1911-1924: the other two were the opera Bluebeard’s Castle and the ballet The Wooden Prince. Each is an exotic, expressionist masterpiece, incorporating both the latest in modernist style and unique elements derived from Bartók’s immersion in Central European folk music.

The Miraculous Mandarin is based on the “pantomime grotesque” of the same name by the well-known Hungarian writer Melchior Lengyel (who went on to become a Holly- wood screenwriter). The story is this: a female prostitute, forced into the task by three thieves, attempts to lure men into a hotel room to be robbed. The scene is a teeming urban one, illustrated by wild and brilliant orchestration and direct, almost cinematic reflection of the stage action. Originally produced in Cologne in 1926, the stage work was banned for the lurid violence of its story and is still rarely encountered. As a concert piece, the score and, especially, the twenty-minute concert suite presented in these concerts has become a staple of the BSO repertoire.

Tchaikovsky’s Symphony No. 6 was the last piece he wrote; he died nine days after conducting its premiere. Considered his symphonic masterpiece, it was the culmination of a period of great, ambitious works, including the ballet Sleeping Beauty and the opera The Queen of Spades. Although the composer expressed mixed feelings about many of his pieces, he was generally confident about the Sixth Symphony, at least in terms of its quality: “It will be... no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.” The symphony’s finale—not gloriously triumphant but rather introspective and dark (albeit with a couple of intense climaxes)—was a highly unusual and ultimately highly influential idea. The appropriate nickname “Pathétique” was suggested by the composer’s brother Modest.

Robert Kirzinger

34 Ludwig van Beethoven Symphony No. 8 in F, Opus 93

LUDWIG VAN BEETHOVEN was born in Bonn (then an independent electorate) probably on December 16, 1770 (he was baptized on the 17th) and died in Vienna on March 26, 1827. He composed his Symphony No. 8 in 1811 and 1812, completing it in October 1812. The first performance took place in Vienna on February 27, 1814, with the composer conducting.

THE SYMPHONY IS SCORED for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

In the summer of 1812, Beethoven was seeking relief from chronic digestive problems: at doctor’s orders, he traveled from Teplitz to Karlsbad, then, after a brief stay at Franzensbad, back to Teplitz, where he had a passing affair with Amalie Sebald. From there he journeyed to Linz, where he lodged with his brother Johann and where one of his principal concerns was to break up Johann’s relationship with Therese Obermeyer, the sister-in-law of a doctor renting space in Johann’s house. Therese had been employed by Johann as a housekeeper but the relationship became much more personal. She already had an illegitimate daughter and supposedly had had a number of lovers. But Johann’s reaction to his brother’s meddling was, of course, to marry the woman, and when things became difﬁcult for the couple in later years, he did not hesitate to blame brother Ludwig for the unhappy cir- cumstances.

But Beethoven was occupied with composing, too, and it was at Linz, while staying at Johann’s house, that he completed his Eighth Symphony; the autograph bears the inscription “Linz, October 1812.” Just as Beethoven’s Fifth and Sixth symphonies are paired with respect to genesis and early performance history—they were premiered at a single concert, on December 22, 1808—likewise were the composer’s Seventh and Eighth symphonies linked together. The Seventh was completed just four months before the Eighth and was ﬁrst played on December 8, 1813. The Eighth was introduced on Feb- ruary 27, 1814, at a Sunday concert in Vienna that also included the Seventh Symphony,

week 3 program notes 35 Program page from the first Boston Symphony performance of Beethoven’s Symphony No. 8, with Georg Henschel conducting on February 18, 1882, during the orchestra’s first season (BSO Archives)

36 A pencil drawing of Beethoven by Ludwig Schnorr von Carolsfeld, c.1810

Beethoven’s Battle Symphony (Wellington’s Victory), and a vocal trio reworked by Beethoven from a piece he had actually composed ten years earlier (even though he had promised a new trio as well as a new symphony for the occasion). Needless to say, the new Eighth Symphony was somewhat overshadowed by the larger Seventh, which opened the concert, but the real hit of the event was Wellington’s Victory, whose “battle” section was encored. Regarding the Eighth’s relatively cool reception, the reviewer for Vienna’s Allgemeine Musik-Zeitung observed that “the cause of this was not in its weaker or lesser artistic workmanship... but partly in the mistake of allowing the symphony to follow the one in A major [the Seventh], and partly in the satiety that followed the enjoyment of so much that was beautiful and excellent, whereby natural apathy was the result.” As reported by his biographer Thayer, Beethoven’s rather peeved explanation for the Eighth’s lack of immediate success was “because it is so much better than the other [the Seventh],” but it would seem that the Eighth has still not attained the recognition it deserves: it is the least performed of all the composer’s symphonies except, perhaps, for the Second.

Toward the end of the nineteenth century, George Grove articulated the reason for this situation, citing, in the main, “the overﬂowing fun and realism of the music.... Not only is every movement pervaded by humour, but each has some special stroke of boisterous merriment, which to those whose minds were full of the more digniﬁed movements of the Eroica, the C minor, or the Number Seven, may have made it difficult to believe that the composer was in earnest and that his composition was to be taken seriously.” Likewise, Philip Hale points to the Eighth as the product of a composer “in reckless mood, delighting in abrupt contrasts... characterized by mad jollity, and a playfulness that at times approaches buffoonery.” Beethoven’s own word for this was “aufgeknöpft,” “unbuttoned,” and this is the term commentators have seized upon to characterize this symphonic product of his cheerful nature.

week 3 program notes 37

The ﬁrst movement, Allegro vivace e con brio, contrasts a bright but forceful idea with a waltzlike second theme of comic bent. There is constant alternation of bright and dark, and a preponderance of the sforzato accents and rhythmic drive so typical of Beethoven; the end of the development virtually barrels into the recapitulation. The second movement, marked Allegretto scherzando, suggests in its sixteenth-note staccato accompaniment the ticking of a metronome; the main tune may have been based upon, or given rise to, a canon Beethoven contrived in honor of Johann Nepomuk Maelzel, Vienna’s “Court Mechanician” and inventor of the “musical chronometer.” The playful character of this brief movement resides in its overlaying of trills, accents, and sudden fortissimo tremolos.

The third movement is marked “Tempo di Menuetto” but actually parodies the courtly minuet of Mozart and Haydn. The original trumpet-and-drums reinforcement of the downbeat—and note that the opening two notes of the movement constitute an upbeat— is displaced during the course of the minuet, and the dolce (“sweet”) horn melody of the Trio is offset by a scampering cello accompaniment that suggests a quite different sort of character. The Allegro vivace finale moves like the wind: the triplets that form the upbeat to the main idea and pervade the accompaniment are barely distinguishable to the ear. As in the first movement, there are fits and starts, juxtapositions of pianissimo and fortissimo, with bouncing octaves in bassoon and timpani contributing to the fun. So much energy is accumulated along the way that, to wind things up, Beethoven writes a coda as long as the entire main part of the movement, and, at the end, we can almost imagine him grabbing us by the shoulders, shaking us hard, and laughing.

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

THEFIRSTAMERICANPERFORMANCE of Beethoven’s Symphony No. 8 was on November 16, 1844, in New York, with George Loder conducting the Philharmonic Society in the Apollo Rooms.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of Beethoven’s Eighth Symphony was led by Georg Henschel on February 18, 1882, during the orchestra’s first season, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Richard Strauss, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Charles Munch, Arthur Fiedler, William Steinberg, Eugene Ormandy, Erich Leinsdorf, Michael Tilson Thomas, Ferdinand Leitner, Klaus Tennstedt, Charles Dutoit, Seiji Ozawa, Bernard Haitink, Osmo Vänskä, James Levine, Lorin Maazel (the most recent subscription performances, in November 2009), and Rafael Frühbeck de Burgos (the BSO’s three most recent Tanglewood performances, in July 2004, August 2011, and July 2013).

week 3 program notes 39

Béla Bartók Suite from “The Miraculous Mandarin,” Pantomime in one act, Opus 19

BÉLA BARTÓK was born in Nagyszentmiklós, Transylvania (then part of Hungary but now absorbed into Romania) on March 25, 1881, and died in New York on September 26, 1945. He began sketch- ing his ballet “The Miraculous Mandarin,” based on a play by Melchior Lengyel, in August 1917 and composed the first version of the ballet between October 1918 and May 1919, though he did not orchestrate it until the summer of 1923. He revised and shortened the score from April to November 1924 and continued to tinker with the ending between 1926 and 1931. In February 1927 he completed an orchestral suite comprising about two-thirds of the score. The first public performance of any of this music came on Budapest Radio on April 8, 1926, when Bartók and György Kosa performed a part of the score in the original version for piano four-hands. The full ballet was first performed on November 27, 1926, in Cologne, Germany, with Jenö Szenkar conducting. The suite was premiered in Budapest by the Philharmonic Society Orchestra, Ernö Dohnányi conducting, on October 15, 1928.

THE SCORE OF “THE MIRACULOUS MANDARIN” calls for two flutes and piccolo (doubling third flute), three oboes (third doubling English horn), three clarinets and bass clarinet, three bassoons and contrabassoon (doubling fourth bassoon), four horns, three trumpets, three trombones, bass tuba, timpani, large and small side drum, bass drum, cymbals, triangle, tam-tam, xylophone, celesta, harp, piano, organ, and strings. (A mixed chorus, offstage, is required for the complete ballet score, but not for the suite.)

The Miraculous Mandarin was the third and last of Bartók’s major compositions for the theater; though still in his thirties when he completed the draft score, with almost half his life yet to live, he never again attempted to write for the stage. Evidently the difﬁculties he suffered in attaining a full theatrical performance soured him forever on the theater, whether opera or ballet, and turned him decisively toward abstract instrumental composition. His two earlier works for the stage—Bluebeard’s Castle, a one-act opera for two characters, and The Wooden Prince, a ballet—both showed signs of genius, though not always uniformly throughout. With The Miraculous Mandarin (and the Second String Quartet, which immediately preceded it), we find the composer fully matured in his

week 3 program notes 41 Program page for the first Boston Symphony Orchestra performances of the suite from Bartók’s “The Miraculous Mandarin” on January 20 and 21, 1950, with Richard Burgin conducting (BSO Archives)

42 musical style. He had absorbed the folk elements of his native country as well as the latest trends in avant-garde music from elsewhere in Europe, and his powerful musical intellect fused these elements into a personal and tremendously expressive style.

Bartók encountered Melchior Lengyel’s scenario for The Miraculous Mandarin when it was published in the magazine Nyugat in 1917. What he made of it was not a ballet, in the sense of a work composed of big dance numbers, but rather a pantomime, a story told in gesture and movement, but movement that might be called, for the most part, “prose” rather than “poetry.” This created structural problems for the composer. A series of full- scale dance numbers in a ballet would require a corresponding series of musical numbers, each with its own character and musical shape. A plot that slithers on from one incident to another is more problematic. Bartók saw the difﬁculty and so adapted Lengyel’s scenario to give himself a basis for a musical structure, to provide some kind of symmetrical design to the story. He takes two scenes of violent movement and links each of them with three stages of action to be carried in dance.

week 3 program notes 43

From a 1946 production of “The Miraculous Mandarin,” showing the Mandarin (at left) hang- ing from the chandelier following the ruffians’ last attempt to kill him

The tale is lurid and violent, set in a brothel bedroom. At the rise of the curtain, three ruffians enter with a girl. Finding no money in her flat, they order her to go to the window and attract a customer. Three times she lures men into the room; the first two have no money, and the ruffians unceremoniously throw them out. But finally a mysterious and exotic “mandarin” enters, a man whose face reveals no sign of emotion except for his burning eyes, which stare ceaselessly at the girl. She begins dancing for him, gradually dancing more and more sensuously. She falls into his lap and he embraces her, trembling with passion. Now frightened, she tries to elude him, and he pursues her. Just as the Mandarin reaches the girl, the ruffians attack him and take his jewels and money. Then they decide to kill him. Three times they attack him in different ways. They smother him, but he will not die, and continues staring at the girl. They stab him; he does not fall or bleed. They hang him from the chandelier; it comes crashing down, and his body begins to glow with a greenish light. Finally the girl feels some pity for this strange man. She embraces him, and her act of compassion releases him from the longing that has driven him. His wounds begin to bleed, and he finally dies.

Even in the form of the concert suite, Bartók’s music so clearly reflects the scenario that it is not difficult to follow the intended course of events. In fact, except for a few very small cuts, the suite is essentially two-thirds of the entire score, up to the moment when the ruffians leap out and seize the Mandarin. The last few measures are a concert ending that Bartók provided for the purpose.

The prologue suggests the noisy bustle of a busy street, heard through the window of the dingy room. The bustle dies down, and the three ruffians are introduced by a jerky chro- matic figure in the violas. The music associated with the girl’s standing at the window and luring the passing men to enter is, each time, presented by the solo clarinet. The first man, an elderly rake, is parodied in trombone glissandi. The second is a shy, handsome youth, represented by the oboe. The dance turns passionate briefly before the thugs enter again and drive the hapless fellow into the street.

The arrival of the third victim, the Mandarin, is marked by the simplest musical moment

week 3 program notes 45 in the score, the blaring brass instruments snarling out a single minor third, B-D. Wood- winds and strings utter wild trills. After the briefest of pauses, the girl begins a hesitant dance before this strangely unresponsive newcomer. From this point the music builds in tension to almost unbearable levels, with a halting waltz that grows more and more abandoned until she throws herself into the Mandarin’s lap. Bartók introduces an exotic theme on the trombone to suggest the Mandarin’s reaction. A pounding ostinato turns into a tense fugue on a subject of oriental tinge.

This is roughly the point where the orchestral suite ends, bringing us to the moment when the rufﬁans leap out and seize the Mandarin. The composer no doubt chose this point to end the suite because it provided a symmetrical pattern in which the score’s wildest orchestral music frames the three attempts at luring victims. Once the fugue has built to its grand climax, the opening woodwind chords return, bringing the suite to its shattering conclusion.

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

THEFIRSTBOSTONSYMPHONYPERFORMANCES of the “Miraculous Mandarin” Suite were conducted by Richard Burgin in January 1950. Burgin also led the next series of BSO performances, in November 1960, since which time the BSO has played it under Jorge Mester, Seiji Ozawa (on a number of occasions, in Boston, at Tanglewood, and on tour, between 1971 and 1998, including the most recent Tanglewood performance in 1976), Adam Fischer, Ingo Metzmacher, Shi-Yeon Sung, David Robertson, and Ludovic Morlot (the most recent subscription performances, in November 2011, followed the next month by tour performances in San Francisco and Santa Barbara, California). Ozawa also led BSO performances of the complete score: in 1979 at Tanglewood and on tour in Salzburg, and in February 1994 in Boston, as well as a Tanglewood Music Center Orchestra performance on August 1, 1999, as part of that summer’s Leonard Bernstein Memorial Concert.

week 3 program notes 47

Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Opus 74, “Pathétique”

PYOTR ILYICH TCHAIKOVSKY was born at Votkinsk, Vyatka Province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He composed the Sixth Symphony between February 16 and August 31, 1893. The ﬁrst performance took place in the Hall of Nobles, St. Petersburg, on October 28 that year with Tchaikovsky conducting, nine days before his death. The second performance, with Eduard Nápravník conducting, took place twenty days later in the same hall, as part of a concert given in the composer’s memory. THE SYMPHONY IS SCORED for three ﬂutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, tam-tam, and strings.

During Tchaikovsky’s last years, his reputation grew enormously outside of Russia, but he was left prey to deepening inner gloom, since his countrymen rarely recognized his genius. He had, moreover, been shattered by the sudden breaking-off of the strange but profoundly moving epistolary relationship that he had carried on for fourteen years with Nadezhda von Meck, whose financial assistance and understanding had sustained him through difficult times. Though they never met face to face, their relationship was one of the strongest, in its emotional depth, that either of them was ever to experience. She, for unknown reasons, decided to end the correspondence decisively in October 1890; Tchaikovsky never fully recovered from the blow. Another reason for his depression was an old but continuing concern—the constant fear that his homosexuality might become known to the public at large or to the authorities (which would lead to terrible conse- quences, since homosexuality was regarded as a crime that might involve serious legal ramifications, including banishment and the loss of his civil rights).

Tchaikovsky was also concerned that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely. (This “Seventh Symphony” was premiered in Moscow in 1957 in a completion by a Russian musicologist,

week 3 program notes 49 Program page for the first Boston Symphony Orchestra performance of Tchaikovsky’s “Pathétique” Symphony on December 29, 1894, with Emil Paur conducting (BSO Archives)

50 The Tchaikovsky brothers in 1890: Anatoly, Nikolai, Ippolit, Pyotr Ilyich, and Modest

and then published in 1961; as it turned out, the composer’s self-critical view was right.) But a trip to western Europe in December brought a warm reunion: he visited his old governess, whom he had not seen for over forty years. The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. As the composer wrote to his brother Nikolai, “There were moments when I returned into the past so vividly that it became weird, and at the same time sweet, and we both had to keep back our tears.”

The retrospective mood thus engendered may have remained even though he returned to Russia at low ebb: “It seems to me that my role is ﬁnished for good.” Yet the recent opportunity to recall his childhood, when combined with his fundamentally pessimistic outlook, may well have led to the program for the work that suggested itself to him and captured his attention on the way home. Within two weeks of writing the foregoing words, Tchaikovsky was hard at work on what was to become his masterpiece. Home again, he wrote in mid-February to a nephew that he was in an excellent state of mind and hard at work on a new symphony with a program—“but a program that will be a riddle for everyone. Let them try and solve it.” He left only hints: “The program of this symphony is completely saturated with myself and quite often during my journey I cried profusely.” The work, he said, was going exceedingly well. On March 24 he completed the sketch of the second movement—evidently the last to be outlined in detail—and noted his satisfaction at the bottom of the page: “O Lord, I thank Thee! Today, March 24th, completed prelimi- nary sketch well!!!”

The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate (see photo on page 49), an honor that he shared with Saint-Saëns, Boito, Bruch, and Grieg (who was ill and unable to be present). He was presented for the degree with a citation in Latin that appropriately singled out the “ardor

week 3 program notes 51 52 fervidus” and the “languor subtristis” of his music. When he returned home he found that the orchestration would be more difﬁcult than he expected: “Twenty years ago I used to go full speed ahead and it came out very well. Now I have become cowardly and unsure of myself. For instance, today I sat the whole day over two pages—nothing went as I wanted it to.” In another letter he noted, “It will be...no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.”

Though Tchaikovsky was eager to begin an opera at once, the Sixth Symphony was to be the last work he would complete. The premiere on October 28 went off well despite the orchestra’s coolness toward the piece, but the audience was puzzled by the whole—not least by its somber ending. Rimsky-Korsakov confronted Tchaikovsky at intermission and asked whether there was not a program to that expressive music; the composer admitted that there was, indeed, a program, but he refused to give any details. Five days later Tchaikovsky failed to appear for breakfast; he complained of indigestion during the night, but refused to see a doctor. His situation worsened, and in the evening his brother Modest sent for medical help anyway. For several days Tchaikovsky lingered on, generally in severe pain. He died at three o’clock in the morning on November 6.

Though it is generally believed that Tchaikovsky’s death was the result of cholera brought on by his drinking a glass of unboiled water during an epidemic, the extraordinarily expressive richness of the Sixth Symphony, and particularly that of its ﬁnale, has inspired a great deal of speculation regarding the composer’s demise. It has even been suggested— in accordance with a theory advocated by the Russian musicologist Aleksandra Orlova and then taken up by the English Tchaikovsky scholar David Brown in The New Grove Dictionary of Music and Musicians (1980)—that Tchaikovsky poisoned himself fearing denunciation to the Tsar as a homosexual by a duke with whose nephew he had struck up a friendship. Other writers have asserted that the music was composed because of the composer’s premonitions of impending death. In his 1995 book Tchaikovsky, Anthony Holden aligned himself incontrovertibly with the proponents of the suicide theory. But in the revised New Grove (2001), Roland John Wiley wrote: “The polemics over his death have reached an impasse....We do not know how Tchaikovsky died.”

As to the composer’s alleged “premonitions of impending death,” one finds from a perusal of his letters that, until the last few days, he was clearly in better spirits than he had enjoyed for years, confident and looking forward to future compositions. The expressive qualities of the Sixth Symphony follow from his two previous symphonies, which are also concerned in various ways with Fate. The Fourth and Fifth symphonies had offered two views of man’s response to Fate—on the one hand finding solace in the life of the peasants, on the other struggling to conquest, though through a somewhat unconvincing victory. In the Sixth Symphony, Fate leads only to despair. Tchaikovsky never did reveal a formal program for the Pathétique, though a note found among his papers is probably an early draft for one:

week 3 program notes 53

One of the last photos taken of Tchaikovsky

The ultimate essence of the plan of the symphony is LIFE. First part—all impulsive passion, conﬁdence, thirst for activity. Must be short. (Finale DEATH—result of col- lapse.) Second part love; third disappointments; fourth ends dying away (also short).

In the end, all of this (and any possible elaborations of it) remained the composer’s secret. The title that it now bears came only the day after the ﬁrst performance, when the composer, having rejected “A Program Symphony” (since he had no intention of revealing the program) and Modest’s suggestion of “Tragic,” was taken with his brother’s alternative suggestion, “Pathetic.” Modest recalled his brother’s reaction: “‘Excellent, Modya, bravo, Pathetic!’ and before my eyes he wrote on the score the title by which it has since been known.” The title gives a misimpression in English, where “pathetic” has become a debased slang word, almost totally losing its original sense of “passionate” or “emotional,” with a hint of its original Greek sense of “suffering.” In French it still retains its signiﬁcance. And the symphony is, without a doubt, the most successful evocation of Tchaikovsky’s emotional suffering, sublimated into music of great power.

The slow introduction begins in the “wrong” key but works its way around to B minor and the beginning of the Allegro non troppo. The introduction proves to foreshadow the main thematic material, which is a variant of the opening ﬁgure in the bassoon over the dark whispering of the double basses. The great climax to which this builds is a splendid preparation for one of Tchaikovsky’s greatest tunes, a falling and soaring melody that is worked to a rich climax and then dies away with a lingering afterthought in the clarinet. An unexpected orchestral crash begins the tense development section, which builds a wonderful sense of energy as the opening thematic material returns in a distant key and only gradually works round to the tonic. The romantic melody, now in the tonic B major, is especially passionate.

The second movement is quite simply a scherzo and Trio, but it has a couple of special wrinkles of its own. Tchaikovsky was one of the great composers of the orchestral waltz

week 3 program notes 55 56 (think of the third movement of the Fifth Symphony); here he chose to write a waltz that happens to be in 5/4 time! According to the conservative Viennese critic Eduard Hanslick: “This disagreeable meter upsets both listener and player.” But the odd rhythmic twist is more than compensated for by the extraordinary grace of the music.

The third movement is a brilliant march, beginning with rushing busy triplets that alter- nate with a crisp march melody that bursts out into a climactic full orchestral version, a momentary triumph. That triumph comes to a sudden end with the beginning of the final movement, which bears the unprecedented marking “Adagio lamentoso.” The first theme is divided between the two violin parts in such a way that neither first nor second violin part alone makes sense, but when played together they result in a simple, expressive, descending melody. The second theme, a more flowing Andante, builds to a great orchestral climax exceeded only by the climax of the opening material that follows. This dies away and a single stroke of the tam-tam, followed by a soft and sustained dark passage for trombones and tuba, brings in the “dying fall” of the ending, the second theme descending into the lowest depths of cellos and basses.

Ultimately, of course, Tchaikovsky’s farewell vision is a somber one, congruent with his own pessimistic view of life. But it is worth remembering—especially given all the stories that whirl around the composer—that his art, and especially the Pathétique Symphony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it ﬁrmly behind him.

Steven Ledbetter

the first american performance of the “Pathétique” Symphony took place on March 16, 1894, at the Metropolitan Opera House in New York, with Walter Damrosch conducting. the first boston symphony orchestra performance of the “Pathétique” Symphony was led by Emil Paur on December 29, 1894, subsequent BSO performances being given by Paur, Wilhelm Gericke, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Ferenc Fricsay, Robert Shaw, Erich Leinsdorf, David Zinman, Seiji Ozawa, Michael Tilson Thomas, Christoph Eschenbach, Leonard Bernstein, Yuri Temirkanov, Mariss Jansons, Mstislav Rostropovich, Semyon Bychkov, Kurt Masur, Hans Graf, Robert Spano, James Levine, Christoph von Dohnányi, Miguel Harth-Bedoya, Myung-Whun Chung (the most recent subscription performances, in November 2011), and David Zinman (the most recent Tanglewood performance, on August 10, 2014).

week 3 program notes 57

To Read and Hear More...

Published just this summer, Jan Swafford’s Beethoven: Anguish and Triumph is an important new addition to the Beethoven bibliography (Houghton Mifflin). Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Other full-scale modern biographies, both titled simply Beethoven, are by Maynard Solomon (Schirmer paperback) and Barry Cooper (Oxford University Press, in the “Master Musicians” series). Noteworthy, too, are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback); Richard Osborne’s chapter on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback), and Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood (Norton paperback). The First Four Notes: Beethoven’s Fifth and the Human Imagination by the Boston- based critic Matthew Guerrieri, published in 2012, examines the impact of Beethoven’s Symphony No. 5 from a broad cultural perspective (Knopf). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Michael Steinberg’s program notes on all nine Beethoven symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the symphonies are among his Essays in Musical Analysis (Oxford).

The Boston Symphony Orchestra recorded Beethoven’s Symphony No. 8 under Serge Koussevitzky in 1936, under Charles Munch in 1958, and (as part of his complete Beetho- ven cycle with the orchestra) under Erich Leinsdorf in 1969 (all for RCA). Noteworthy Beethoven symphony cycles of varying vintage include (alphabetically by conductor) Claudio Abbado’s with the Berlin Philharmonic (Deutsche Grammophon), Daniel Baren- boim’s with the West-Eastern Divan Orchestra (Decca), John Eliot Gardiner’s with the period-instrument Orchestre Révolutionaire et Romantique (Deutsche Grammophon Archiv), Bernard Haitink’s live with the London Symphony Orchestra (LSO Live), Nikolaus Harnoncourt’s with the Chamber Orchestra of Europe (Warner Classics), Philippe Herreweghe’s with the Royal Flemish Philharmonic (PentaTone), Christian Thielemann’s with the Vienna Philharmonic (Sony), and Osmo Vänskä’s with the Minnesota Orchestra (BIS). Historic recordings include studio and live renditions of the nine symphonies under the direction of Wilhelm Furtwängler (mainly with the Berlin Philharmonic and Vienna Philharmonic) and Arturo Toscanini (mainly with the NBC Symphony Orchestra).

week 3 read and hear more 59

Paul Griffiths’s Bartók in the Master Musicians series (Dent paperback) is a useful sup- plement to Halsey Stevens’s The Life and Music of Béla Bartók, which has long been the standard biography of the composer (Oxford paperback). The Bartók article by Vera Lampert and László Somfai from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Modern Masters: Bartók, Stravinsky, Hindemith (Norton paperback). The article in the revised Grove (2001) is by Malcolm Gillies. Béla Bartók by Kenneth Chalmers is a volume in the copiously illustrated series “20th-Century Composers” (Phaidon paperback). Three relatively recent books offer wide-ranging consideration of Bartók’s life, music, critical reception, and milieu: Bartók and his World, edited by Peter Laki (Princeton University Press); The Bartók Companion, edited by Malcolm Gillies (Amadeus paperback), and Bartók, Hungary, and the Renewal of a Tradition: Case Studies in the Intersection of Modernity and Nationality by David E. Schneider (University of California Press). Agatha Fassett’s personal account of the composer’s last years was reprinted as The Naked Face of Genius: Béla Bartók’s American Years (Dover paperback). Béla Bartók: His Life in Pictures and Documents by Ferenc Bónis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

Seiji Ozawa and the Boston Symphony Orchestra recorded the complete Miraculous Mandarin in 1994 with the Tanglewood Festival Chorus (Philips), having previously recorded the suite in 1975 (Deutsche Grammophon). Other complete recordings include Iván Fischer’s with the Budapest Festival Orchestra and Hungarian Radio Chorus (Philips), Antal Doráti’s with the BBC Symphony Orchestra and Chorus (Mercury Living Presence),

week 3 read and hear more 61 and Pierre Boulez’s with either the New York Philharmonic and Schola Cantorum of New York (Sony Classical) or with the Chicago Symphony Orchestra and Chorus (Deutsche Grammophon). For the suite, Georg Solti’s recording with the Chicago Symphony Orchestra is recommended (London).

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton); the Pathétique Symphony is discussed in the last volume, “The Final Years: 1885-1893.” More recently Brown produced Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and for its wealth of illustrations (Scribners). Anthony Holden’s Tchaikovsky is a single-volume biography that gives ample space to the theory that Tchaikovsky committed suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study also takes a close look at this question (Oxford). Also useful are Alexandra Orlova’s Tchaikovsky: A Self-Portrait (translated by R.M. Davison), an “autobiographical narrative” based on surviving documentation (Oxford), and David Brown’s chapter “Russia Before the Revolution” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s program notes on Tchaikovsky’s Fourth, Fifth, and Pathétique symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

Andris Nelsons has recorded Tchaikovsky’s Fourth, Fifth, and Pathétique symphonies with the City of Birmingham Symphony Orchestra (Orfeo). The Boston Symphony Orchestra recorded the Pathétique Symphony under Seiji Ozawa in 1986 (Erato), under Charles Munch in 1962 (RCA), under Pierre Monteux in 1955 (also RCA), and under Serge Koussevitzky in 1930 (originally RCA). Relatively recent recordings include Daniele Gatti’s with the Royal Philharmonic Orchestra (Harmonia Mundi) and Antonio Pappano’s with the Santa Cecilia Orchestra of Rome (EMI). Others—listed alphabetically by conductor—include Claudio Abbado’s with the London Symphony Orchestra (Deutsche Grammophon) and Chicago Symphony Orchestra (Sony Classical), Leonard Bernstein’s with the New York Philharmonic (Sony), Valery Gergiev’s with the Kirov Orchestra (Philips), James Levine’s with the Chicago Symphony Orchestra (RCA), and Evgeny Mravinsky’s with the Leningrad Phiharmonic (Deutsche Grammophon “Originals”). Igor Markevitch’s first-rate traversal of the Tchaikovsky symphonies with the London Symphony Orchestra offers excellent value as well as fine performances (Philips “Duos,” with the symphonies 1-3 in one two-disc volume and 4-6 in another). Noteworthy historic recordings of the Pathétique include Guido Cantelli’s with the Philharmonia Orchestra, from 1952 (Testament) and Wilhelm Furtwängler’s powerful concert performance, from 1951 in Cairo, with the Berlin Philharmonic (for a while available on Archipel).

Marc Mandel

week 3 read and hear more 63 The Great Benefactors

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

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

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

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

two and one half million Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • 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)

64 one million Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • 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 • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The 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 • Carol and Joe Reich • 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 • Miriam Shaw Fund • 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 3 the great benefactors 65

Maestro Circle

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

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Mr. and Mrs. Amos B. Hostetter, Jr. • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The Symphony Annual Fund provides more than $4 million in essential funding to sustain our mission. The BSO is grateful to the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 17, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block •

weeks 3 maestro circle 67

William and Lia Poorvu • John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore $25,000 to $49,999 Jim and Virginia Aisner • Joan and John Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • Josh and Jessica Lutzker • Henrietta N. Meyer • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Laurel E. Friedman • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Brent L. Henry • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • John F. Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 3 the higginson society 69 70 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Helaine B. Allen • Shirley and Walter Amory • Dr. Ronald Arky • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Mr. Jeff Conklin • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Shirley and Richard Fennell • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Mr. David Fromm • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jane ‡ and Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Mrs. Peggy P. O’Connor • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (7)

weeks 3 the higginson society 71

Administration

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

Bridget P. Carr, Senior Archivist • 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 3 administration 73 74 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, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, 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, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment 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 • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/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 3 administration 75 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

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

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 • 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 • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • 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 • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box ofﬁce David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box ofﬁce representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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 3 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood, 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, Paul Dunlap

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange |Lange Media Sales |781-642-0400 |[email protected]

week 3 administration 79 Next Program…

Thursday, October 9, 10:30am (Pre-Rehearsal Talk from 9:30-10 in Symphony Hall Thursday, October 9, 8pm Friday, October 10, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 11, 8pm

christian zacharias, conductor and piano

schubert from the incidental music to “rosamunde,” d.797 Ballet Music I Entr’acte II Entr’acte III

mozart piano concerto no. 17 in g, k.453 Allegro Andante Allegretto – Presto mr. zacharias

{intermission}

schubert entr’acte i from the incidental music to “rosamunde”

schubert symphony in b minor, d.759, “unfinished” Allegro moderato Andante con moto

The German pianist-conductor Christian Zacharias returns to the BSO in his dual role for Mozart’s Piano Concerto No. 17 in G, performing from the keyboard as Mozart would have done for most of his concerto premieres during his Vienna years. This concerto, one of the composer’s most joyous, may have been written for and was perhaps premiered (in June 1784) by his student Barbara Ployer. Music by Mozart’s Viennese successor Franz Schubert opens and closes the program. Schubert’s delightful music for the 1823 play Rosamunde has had a successful life in the concert hall, although the play itself was a failure and has long since been lost. Completing the program is one of Schubert’s most popular works, the haunting, two-movement Unfinished Symphony in B minor.

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.

80 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, October 9, 10:30am (Open Rehearsal) Thursday ‘A’ October 23, 8-10:15 Thursday ‘B’ October 9, 8-10 Friday ‘B’ October 24, 1:30-3:45 Friday ‘A’ October 10, 1:30-3:30 Saturday ‘B’ October 25, 8-10:15 Saturday ‘A’ October 11, 8-10 BRAMWELLTOVEY, conductor CHRISTIANZACHARIAS, conductor and piano ROSEMARYJOSHUA, soprano BRYNTERFEL SCHUBERT Excerpts from Rosamunde , bass-baritone TANGLEWOOD FESTIVAL CHORUS, MOZART Piano Concerto No. 17 in G, K.453 JOHNOLIVER, conductor SCHUBERT Symphony in B minor, J.S.BACH Cantata No. 82, Ich habe genug Unfinished BRAHMS A German Requiem

Thursday ‘D’ October 16, 8-10 Thursday ‘C’ October 30, 8-10 UnderScore Friday October 17, 8-10:10 Friday ‘A’ October 31, 1:30-3:30 (includes comments from the stage) Saturday ‘A’ November 1, 8-10 Saturday ‘B’ October 18, 8-10 Tuesday ‘B’ November 4, 8-10 Tuesday ‘B’ October 21, 8-10 JUANJOMENA, conductor THIERRYFISCHER, conductor FRANKPETERZIMMERMANN, violin RUDOLFBUCHBINDER, piano SIBELIUS Violin Concerto BRAHMS Piano Concerto No. 1 SCHUBERT Symphony in C, The Great NIELSEN Symphony No. 4, The Inextinguishable Thursday ‘B’ November 6, 8-9:55 Friday ‘B’ November 7, 1:30-3:25 Sunday, October 19, 3pm Saturday ‘B’ November 8, 8-9:55 Jordan Hall, New England Conservatory Tuesday ‘C’ November 11, 8-9:55 BOSTONSYMPHONYCHAMBERPLAYERS ANDRISNELSONS, conductor J.S.BACH Trio Sonata in G for flute, violin, BAIBASKRIDE, violin and continuo, BWV 1038 GUBAIDULINA Offertorium, Concerto for NIELSEN Wind Quintet, Opus 43 violin and orchestra BRAHMS Serenade No. 1 in D SIBELIUS Symphony No. 2 (ARR. BOUSTEAD)

Programs and artists subject to change.

week 3 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 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 3 symphony hall information 83 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.