Week 11 Haydn Brahms

2018–19 season andris nelsons bostonmusic director symphony orchestra week 11 haydn brahms

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 11

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 23 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Joseph Haydn 39 Johannes Brahms 47 To Read and Hear More…

Guest Artists

53 Herbert Blomstedt 55 Truls Mørk

60 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on january 18 is given by author/composer jan swafford.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Ansel Adams, The Tetons and Snake River, Grand Teton National Park, Wyoming, about 1942. Gelatin silver print. The Lane Collection. © The Ansel Adams Publishing Rights Trust.

Through February 24 mfa.org/anseladams

Sponsored by With proud recognition of The Wilderness Society and the League of Conservation Voters, made possible by Scott Nathan and Laura DeBonis. Sponsored by Northern Trust. Additional support from the Robert and Jane Burke Fund for Exhibitions, and Peter and Catherine Creighton. With gratitude to the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust for its generous support of Photography at the MFA. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

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

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

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

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

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

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

week 11 trustees and advisors 3 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

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

Membership as of September 20, 2018

† Deceased

week 11 trustees and advisors 5

BSO News

Latest Andris Nelsons/BSO Shostakovich Release Garners Two Grammy Nominations The latest release in Andris Nelsons and the BSO’s Shostakovich symphony cycle on Deutsche Grammophon—a two-disc set pairing symphonies 4 and 11 (The Year 1905), both recorded in concert at Symphony Hall last season—has garnered two Grammy nominations: for Best Orchestral Performance, and for Best Engineered Album, Classical (Shawn Murphy and Nick Squire, engineers; Tim Martyn, mastering engineer). Each of the two hour-long works in this set, which was released last summer to coincide with the BSO’s post- Tanglewood European tour, has a unique political backdrop. The premiere of the gargantuan Fourth was delayed a quarter-century due to Soviet authoritarianism, and the dramatic Eleventh was written to commemorate the fortieth anniversary of the Bolshevik Revolution. The two previous Shostakovich releases by Andris Nelsons and the BSO on Deutsche Grammophon, which include Shostakovich’s symphonies 5, 8, 9, and 10, won the 2016 and 2017 Grammy Awards for Best Orchestra Performance. Special thanks to Lloyd Axelrod, M.D., for his support of the Boston Symphony Orchestra’s Shostakovich recording project. The 61st Annual Grammy Awards ceremony will be held on February 10, 2019, at the Staples Center in Los Angeles.

New England Conservatory and BSO Present “What I Hear” on Thursday, January 24, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The second of this season’s three “What I Hear” events will take place on Thursday, January 24, featuring Finnish composer Kaija Saariaho, whose orchestral work Ciel d’hiver (“Winter Sky”) will open the BSO concerts of January 24-29. The last of this season’s three “What I Hear” sessions, featuring American composer Sebastian Currier, is scheduled for Thursday, May 2. Admission is free.

week 11 bso news 7 Innovation, now seating seven.

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1Online services are subject to change at any time. Google Earth features will not be available after December 2020 for Model Year 2018 & prior vehicles. Google Earth is a trademark of Google Inc. 2Driver Assistance features are not substitutes for attentive driving. See Owner's Manual for further details, and important limitations.“Audi,” all model names, and the four rings logo are registered trademarks of AUDI AG.©2018 Audi of America, Inc. BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on selected Sunday afternoons at 3 p.m., followed by a coffee-and-dessert reception for the audience and musicians. This season’s next Community Chamber program—on Sunday, February 17, at the Mosesian Theater in Watertown, and on Sunday, February 24, at Newbury Court in Concord—features BSO members Cynthia Meyers, flute; Robert Sheena, oboe; Michael Wayne, clarinet; Suzanne Nelsen, bassoon, and Jason Snider, horn, in music of Irving Fine, György Ligeti, Luciano Berio, and Paul Hindemith. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Sunday-afternoon Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for January and February are Elizabeth Seitz of The Boston Conservatory at Berklee (January 4), author/composer Jan Swafford (January 18), Marc Mandel (January 25 and February 15), composer/pianist Jeremy Gill (February 1), and Robert Kirzinger (February 8). individual tickets are on sale for all concerts in the bso’s 2018-2019 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 Broadcasts on WCRB music by Haydn, Mendelssohn, and Janáˇcek (February 2; encore February 11). BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are Go Behind the Scenes: broadcast live at 8 p.m. with host Ron Della The Irving W. and Charlotte F. Rabb Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, inter- Symphony Hall Tours views with guest conductors, soloists, and The Irving W. and Charlotte F. Rabb Sym- BSO musicians are available online at phony Hall Tours, named in honor of the classicalwcrb.org/bso. Current and upcom- Rabbs’ devotion to Symphony Hall through ing broadcasts include this week’s program a gift from their children James and Melinda with conductor Herbert Blomstedt and cellist Rabb and Betty (Rabb) and Jack Schafer, Truls Mørk of music by Haydn and Brahms provide a rare opportunity to go behind (January 19; encore January 28); next week’s the scenes at Symphony Hall. In these free, program with conductor John Storgårds and guided tours, experienced members of the pianist Martin Helmchen of music by Finnish Boston Symphony Association of Volunteers composer Kaija Saariaho, Mozart, and Sibel- unfold the history and traditions of the Bos- ius (January 26; encore February 4), and the ton Symphony Orchestra—its musicians, following week’s program with conductor conductors, and supporters—as well as Juanjo Mena and violinist Julian Rachlin of offer in-depth information about the Hall

week 11 bso news 9 itself. Tours are offered on select weekdays loyal supporters who are helping to ensure at 4 p.m. and some Saturdays at 3:30 p.m. the future of the BSO’s extraordinary perfor- during the BSO season. Please visit bso.org/ mances. Members of the Piston Society— tours for more information and to register. named for Pulitzer Prize-winning composer and noted musician Walter Piston, who endowed the BSO’s principal flute chair with Planned Gifts for the BSO: a bequest—are recognized in several of our Orchestrate Your Legacy publications and offered a variety of exclu- There are many creative ways that you can sive benefits, including invitations to various support the BSO over the long term. Planned events in Boston and at Tanglewood. If you gifts such as bequest intentions (through would like more information about planned your will, personal trust, IRA, or insurance gift options and how to join the Walter Pis- policy), charitable trusts, and gift annuities ton Society, please contact Jill Ng, Director can generate significant benefits for you of Planned Giving and Senior Major Gifts now while enabling you to make a larger gift Officer, at (617) 638-9274 or [email protected]. to the BSO than you may have otherwise We would be delighted to help you orches- thought possible. In many cases, you could trate your legacy with the BSO. realize significant tax savings and secure an attractive income stream for yourself and/ Join Our Community of or a loved one, all while providing valuable future support for the performances and Music Lovers— programs you care about. When you estab- The Friends of the BSO lish and notify us of your planned gift for As a music lover, you know how special the Boston Symphony Orchestra, you will it is to experience a performance here at become a member of the Walter Piston Symphony Hall. Attending a BSO concert Society, joining a group of the BSO’s most is a communal experience—thousands of

2018–2019 season andris nelsons music director

bso 101 A FREE ADULT EDUCATION SERIES Wednesdays, 5:30–7pm at Symphony Hall

BSO 101: Are You Listening? offers the OCT 17: Exploring What’s New! opportunity to increase your enjoyment of NOV 14: Orchestral Palettes I—Mahler, BSO concerts. Join BSO Director of Program Beethoven, Dvořák, Harbison Publications Marc Mandel (11/14 & 2/13), JAN 16: Symphonic Shifts—Haydn, Brahms, Associate Director of Program Publications Sibelius, Copland Robert Kirzinger (10/17, 1/16 & 4/3), and FEB 13: Orchestral Palettes II—Debussy, members of the BSO in five sessions Puccini, Adès, Strauss designed to enhance your listening APR 3: 20th-Century Masters—Stravinsky abilities and appreciation of music by and Shostakovich focusing on upcoming BSO repertoire. No Free admission; reservations required. prior musical training, or attendance at any Call 617-266-1200 or go to bso.org/bso101. previous session, is necessary. bso.org/bso101

10 concertgoers join together to hear 100 to spend time with your Symphony friends, musicians collaborate on each memorable meet new people, and conserve energy. For performance. Without an orchestra, there further information about bus transportation is no performance, and without an audi- to Friday-afternoon Boston Symphony con- ence, it is just a rehearsal. There’s another certs, please call the Subscription Office at community that helps to make it all possi- (617) 266-7575. ble—the Friends of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed BSO Members in Concert support to cover annual expenses. Annual Emmanuel Church’s “Late Night at Emmanuel” membership gifts from the Friends of the series presents a celebration of John Harbi- BSO help bridge that gap. The Friends are son’s 80th birthday on Saturday, January 26, the cornerstone upon which the orchestra at 8 p.m., with the same program repeated at is built, keeping the music playing to the 10 p.m. Featuring Mr. Harbison as pianist, the delight of audiences all year long. In addition Lydian String Quartet, and vocalists from the to joining our family of like-minded music Emmanuel ensemble, the all-Harbison pro- lovers, you’ll also enjoy a variety of exclusive gram includes the Boston premiere of his benefits designed to bring you closer to the String Quartet No. 6; Thanks, Victor, a med- music you cherish. Friends receive advance ley of popular Victor Young tunes arranged ticket ordering privileges, discounts at the for string quartet; the world premiere of six Symphony Shop, and special invitations new popular tunes by Harbison “written to such behind-the-scenes donor events in the margins,” with the composer at the as BSO and Pops working rehearsals, and piano; and birthday surprises. For tickets and much more. Friends memberships start at more information, visit emmanuelmusic.org just $100. To join our community of music or call (617) 536-3356. lovers in the Friends of the BSO, contact The Concord Chamber Music Society, founded the Friends Office at (617) 638-9276 or by BSO violinist Wendy Putnam, performs [email protected], or join online at Prokofiev’s Violin Sonata in D, Opus 94a, bso.org/contribute. Debussy’s Piano Trio in G, and Walton’s Piano Quartet in D minor on Sunday, Janu- Friday-afternoon Bus Service ary 27, at 3 p.m. (pre-concert lecture at 2 p.m.) to Symphony Hall at the Concord Academy Performing Arts Center, 166 Main Street, Concord, MA. If you’re tired of fighting traffic and searching Joining Ms. Putnam are BSO principal viola for a parking space when you come to Friday- Steven Ansell, cellist Michael Reynolds, and afternoon Boston Symphony concerts, why pianist Vytas Baksys. Tickets are $47 and not consider taking the bus from your com- $38 (discounts for seniors and students). munity directly to Symphony Hall? The For more information, call (978) 405-0130 Boston Symphony Orchestra is pleased to or visit concordchambermusic.org. continue offering round-trip bus service on Friday afternoons at cost from the following BSO members Elizabeth Ostling, flute, and communities: Beverly, Canton, Cape Cod, Alexandre Lecarme, cello, participate in a Concord, Framingham, Holyoke, Milton, music and theology lecture-concert, includ- the South Shore, Swampscott, Wellesley, ing music of Bach, Marcello, Saint-Saëns, Weston, and Worcester in Massachusetts; Brahms, and others, on Friday, February 1, Nashua, New Hampshire; and Rhode Island. at 8 p.m. at Alumni Hall, Gordon-Conwell In addition, we offer bus service for selected Theological Seminary, 130 Essex St., South concerts from the Holyoke/Amherst area. Hamilton, MA. Entitled “Music and the Taking advantage of your area’s bus service Abundance of God,” the event will be led not only helps keep this convenient service by Dr. Jeremy Begbie, Thomas A. Langford operating, but also provides opportunities Distinguished Professor of Theology, Duke

week 11 bso news 11

Divinity School; the performers also include The Information Stand: Find Out oboist Amanda Hardy, clarinetist Catherine What’s Happening at the BSO Hudgins, violinists Sarita Kwok and Shadwa Mussad, and pianists Jeremy Begbie Are you interested in upcoming BSO concert and Brandan E. Morris. Admission is free; information? Special events at Symphony reception to follow. RSVP to president@ Hall? BSO youth activities? Stop by the gordonconwell.edu. Visit gordonconwell.edu information stand in the Brooke Corridor for more information. on the Massachusetts Avenue side of Sym- phony Hall (orchestra level), and in the Collage New Music, founded by former BSO Cohen Wing during Pops concerts. There percussionist Frank Epstein, gives the first you will find the latest information on per- Boston performances of works by Hannah formances, membership, and Symphony Lash, Laura Schwendinger, Sean Shepherd, Hall. The BSO Information Stand is staffed and David Rakowski, and the world premiere before each Pops concert and during inter- of a new work by Benjamin Park, under the mission. During the BSO season the stand direction of David Hoose on Sunday, Febru- is self-serve. ary 10, at 8 p.m. (pre-concert talk at 7 p.m.) at Edward M. Pickman Concert Hall at the Longy School of Music of Bard College, 27 On Camera With the BSO Garden Street, Cambridge. Among the per- The Boston Symphony Orchestra frequently formers are BSO members Catherine French, records concerts or portions of concerts violin; Mickey Katz, cello, and Clint Foreman, for archival and promotional purposes via flute. General admission tickets at $30 (dis- our on-site video control room and robotic counts for seniors and students) are available cameras located throughout Symphony Hall. at collagenewmusic.org. Please be aware that portions of this concert may be filmed, and that your presence Those Electronic Devices… acknowledges your consent to such photography, filming, and recording for possible use As the presence of smartphones, tablets, and in any and all media. Thank you, and enjoy other electronic devices used for commu- the concert. nication, note-taking, and photography has increased, there have also been continuing expressions of concern from concertgoers Comings and Goings... and musicians who find themselves dis- Please note that latecomers will be seated tracted not only by the illuminated screens by the patron service staff during the first on these devices, but also by the physical convenient pause in the program. In addition, movements that accompany their use. For please also note that patrons who leave the this reason, and as a courtesy both to those auditorium during the performance will not on stage and those around you, we respect- be allowed to reenter until the next convenient- fully request that all such electronic devices pause in the program, so as not to disturb the be completely turned off and kept from view performers or other audience members while while BSO performances are in progress. the music is in progress. We thank you for In addition, please also keep in mind that your cooperation in this matter. taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. Thank you very much for your cooperation.

week 11 bso news 13 Explore Memory Care Arts & Culture White Oak Cottages at Fox Hill Village offers a unique alternative Living at Fox Hill Village means the planning is done. for those who can no longer live at You just show up! Join your neighbors for an excursion of guided home due to memory impairment. tours, eateries and shops to explore. Make it easy and take the bus to With our specially designed Symphony Hall. Take day trips to Tanglewood, the cottages, philosophy of care, and Boston Ballet, the Wang Theatre and more! unique staffing model, we provide the very best living options for our With numerous intellectually stimulating outings, residents with dementia and a variety of adult learning programs highlighting Alzheimer’s disease. We are a history, finance, current events and the arts, you’ll proud partner of The Green House® Project, a national move- never be bored at Fox Hill Village. ment to transform long-term care. In the Loge at the In addition to our commitment to rich Museum of Fine Arts, To learn more, call cultural offerings, we have: Boston 781-320-1999 or visit WhiteOakCottages.com • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 11 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 11 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

week 11 boston symphony orchestra 19

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H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . Old Strains Reawakened: The Boston Symphony’s Historical Instrument Collection by Douglas Yeo

Instruments from the BSO’s Casadesus Collection of Historic Instruments are on view in display cases in the Cohen Wing of Symphony Hall: in the corridor near the Symphony Shop, in Higginson Hall, and in the Miller Room across from the Symphony Shop.

The musicians of the Boston Symphony Orchestra are required by contract to use “the best instrument available” to them; and so it is, that when you hear the BSO in concert, the sound is one of tens of millions of dollars of wood, brass, and leather working together in remarkable unity.

But it is not only the BSO players themselves who possess extraordinary instruments. There are other instruments in Symphony Hall—long silent and now rarely played—that are ancestors of today’s modern symphony orchestra, and which provide both interest and inspiration to musicians and concertgoers alike.

The Boston Symphony’s legendary music director, Serge Koussevitzky, though born in Russia, made his early reputation in Paris both as a conductor and performer on the double bass. While in Paris, Koussevitzky met Henri Casadesus, who, along with Camille Saint-Säens, founded the Société des Instruments Anciens in 1901. An accom- plished viola player and composer, Casadesus began collecting historical instruments around 1896 and, in time, amassed an impressive collection of instruments—string, woodwind, brass, and percussion. His Société gave concerts in Europe, Britain, and Russia (where Koussevitzky joined the group), as well as in Boston’s Symphony Hall in 1918. When Casadesus decided to consolidate his collection and put many of his instruments up for sale in 1926, Koussevitzky lobbied for his friend’s collection to come to Boston:

School children with instruments of the Casadesus Collection, c.1955

week 11 23

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Contact: John Morey | 617-292-6799 | [email protected] Serge Koussevitzky with an 18th-century bass viol from the Casadesus Collection (BSO Archives)

Our great orchestra leader, Serge Koussevitzky, the intimate friend of Henri Casadesus, knew for a long time these artistic riches and it is upon his initiative and discerning counsel that the committee was formed which has acquired this collection.*

A group of Boston Symphony supporters subsequently purchased 145 instruments from Casadesus’ collection and donated them to the Boston Symphony Orchestra. The group’s spokesman, N. Penrose Hallowell, made the proposal to Frederick P. Cabot, President of the Boston Symphony Board of Trustees, on March 10, 1926: Certain individuals have agreed to buy what is known as the Henri Casadesus collection of musical instruments. It comprises between 110 and 120 [actually 145 in all] pieces and is considered by experts to be an unusually fine collection. These individuals, together with others who will be asked to subscribe, are glad to offer this collection to the Trustees of the Boston Symphony Orchestra in memory of [BSO founder] Major Henry L. Higginson on the understanding that the Trustees will give suitable space for it in Symphony Hall and will take measures to make it as easy as possible for music lovers to view the collection.

The donation was accepted and the instruments shipped to Boston. No record has been found detailing the price paid for the collection, but an appraisal done at the time

* A Rare Collection of Old Musical Instruments: The Casadesus Collection, Given by Friends to the Boston Symphony Orchestra in Loving Memory of its Founder, Henry Lee Higginson (Boston: Symphony Hall, November 13, 1926), p.7.

week 11 25 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. Henri Casadesus with his daughter Gisèle at Casadesus’ home, c.1920

they arrived in Boston estimated their value at $37,965 (approximately $500,000 in today’s currency). On October 23, 1926, Casadesus’ instruments, having been installed in cases in a room off the first balcony of Symphony Hall (the location of the current Management Office), were displayed to the public. TheBoston Sunday Post of October 24, 1926, reported the opening of the display: A group of Boston citizens, yesterday morning, presented to the Boston Symphony Orchestra in memory of its founder, Major Henry L. Higginson, a collection of old musical instruments, which is generally considered the finest exhibit of its kind in existence. These rare instruments were acquired from Henri Casadesus, celebrated French musician, who has devoted many years of his life to gathering together musical instruments of former times. M. Casadesus visited this country in 1918 with his Society of Ancient Instruments, and performed early chamber music at Symphony Hall and elsewhere. Mr. Koussevitzky has for many years been a close friend of the collector. In fact, it was on the Russian conductor’s recommendation that this exhibit was acquired last spring. The collection, mounted in glass cases, has been placed in a room especially con- structed for this purpose in the corridor of the first balcony of Symphony Hall. It will be open to inspection by all concert audiences.

In the decades following, the collection was moved from its initial installation to the players’ tuning room (out of public view) off stage-right and subsequently into storage. Since 1990, with the renovation of a then recently acquired building adjacent to Symphony Hall, instruments from the Casadesus Collection have been installed in seven display cases in Symphony Hall’s Cohen Wing: four cases are in the corridor near the Symphony

week 11 27 Shop, two cases are in Higginson Hall, and one case is in the Miller Room across from the shop. Since the gift of the Casadesus Collection in 1926, other historical instruments have been donated to the Boston Symphony, and some of these are also on display, including the Barnett Collection (comprising mostly Asian instruments, in the Miller Room) and several instruments that were collected on various Boston Symphony tours, including a Chinese pipa that came to Symphony Hall as a result of the BSO’s historic tour to China in 1979. Three instruments from the Casadesus Collection are on loan to, and on display at, the Museum of Fine Arts, Boston.

The BSO historical instrument collection contains some notable treasures. Taking pride of place is an extraordinary group of seven serpents—the ancient instrument invented in France in the 16th century to accompany chant in the church, and which found its way into military bands and the symphony orchestra during its long evolutionary jour- ney to today’s tuba; among these is a rare specimen by Pelligrino d’Azzi that features the coat of arms of the Republic of Venice. Among the finest and best-preserved string instruments in the collection are two handsome Italian mandolins from the late 1700s. A walking stick flute by Stengel conjures up images of gentlemen pausing during a stroll to entertain an ad hoc audience. Two French horns with painted bells remind us of the challenges that faced players before modern times when they had to change crooks (coils of tubing that needed to be inserted into the instrument in order to pro- duce notes in different keys) before the invention of valves. The Barnett Collection’s instruments from Asia and the Middle East show the fragile construction and use of exotic materials that result in unique sounds far removed from our Western symphonic tradition. The collection is under the care of the BSO Archives; Darcy Kuronen— Pappalardo Curator of Musical Instruments at the Museum of Fine Arts—provides curatorial support.

Instruments from the Casadesus Collection have not been used in Boston Symphony performances, but a few that are still in playing condition have occasionally been

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From Bruckner to the Moon MARCH 2, 2019 8PM Melinda Wagner Proceed, Moon FIRST BOSTON PERFORMANCE Francis Poulenc Concerto for Two Pianos and Orchestra Leslie Amper and Randall Hodgkinson, duo piano Anton Bruckner Symphony No. 3 in D Minor (“Wagner”) BOSTON UNIVERSITY TICKETS ON SALE NEPHILHARMONIC.ORG TSAI PERFORMANCE CENTER

28 Patricia Crandall Collection George Humphrey/courtesy BSO Archives,

Isaac Stern with the dance master’s violin (“pochette”) from the Casadesus Collection

used by BSO players and staff in various contexts. In the 1950s, three members of the orchestra (Roger Voisin, Harold Meek, and Joseph Orosz) recorded selected instruments from the collection on the LP record set “Spotlight on Brass.” BSO staff member Laning Humphrey and lifelong volunteer Patricia Crandall enthusiastically displayed and discussed instruments for audiences of both adults and children in association with Boston Symphony Youth Concerts, and the instruments continue to be studied and enjoyed by concertgoers, students, and scholars. In this, the instruments of the Casadesus Collection continue to fulfill the words of the Boston Symphony rusteesT at the dedication ceremony of the collection on October 23, 1926: The sounds of that earlier time are stilled. But the art they embodied finds constant utterance in old strains re-awakened, in new rhythms breaking the silence of the future.

douglas yeo was bass trombonist of the Boston Symphony Orchestra from 1985 to 2012 and Professor of Trombone at Arizona State University from 2012 to 2016. His latest book is “Serpents, Bass Horns, and Ophicleides at the Bate Collection” (University of Oxford). He has performed on historical instruments including serpent and ophicleide with the BSO and many early instrument groups, and his playing is heard on museum audio and video guides around the world.

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andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, January 17, 8pm Friday, January 18, 1:30pm Saturday, January 19, 8pm Tuesday, January 22, 8pm | the nancy and richard lubin concert

herbert blomstedt conducting

haydn cello concerto no. 1 in c Moderato Adagio Allegro molto truls mørk

{intermission} Peter Vanderwarker

32 brahms symphony no. 1 in c minor, opus 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più Andante—Allegro non troppo ma con brio—Più Allegro

thursday evening’s performance of haydn’s cello concerto no. 1 is supported by a gift from eric and sarah ward. friday afternoon’s performance of haydn’s cello concerto no. 1 is supported by a gift from drs. christoph and sylvia westphal in honor of drs. heiner and frauke westphal. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 9:40, the afternoon concert about 3:10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 11 program 33 The Program in Brief...

Music poured from Franz Joseph Haydn in almost unparalleled profusion—Masses, operas, piano trios, piano sonatas, string quartets, and more than a hundred symphonies, among other things, not to mention a considerable body of music now lost. Until 1961 the Cello Concerto No. 1 was thought to be among those lost works; experts knew of it because Haydn entered the first few measures into the thematic catalog of his works. A young scholar examining manuscripts in the Prague National Museum discovered a cello concerto that began with the music Haydn had written into his catalogue; the concerto almost immediately became a favorite of cellists and audiences worldwide.

The concerto was written in the 1760s, during the first decade of Haydn’s engagement as music master in the court of that great patron of music, his employer Prince Nikolaus Esterházy; it was almost certainly composed for Haydn’s friend, the principal Eszterháza cellist Joseph Franz Weigl, who must have been a tremendous virtuoso and a musician of sensitivity and taste. The piece is in three movements, its style straddling the Baroque and the Classical. The first movement is simultaneously stately and festive, falling into sections dominated alternately by the orchestra and the cello. The slow movement is a lyrical outpouring; the first appearance of the cello is marvelous as it emerges on a sustained tone from the midst of the orchestral texture. In the finale, Haydn plays a trick on the audience: the cellist enters on a sustained note, just as he did in the second movement, but that sustained note gives little hint of the acrobatic tumbling to come.

Brahms was forty-three when he finished his First Symphony in 1876. Though he already had several works for orchestra behind him—notably the Piano Concerto No. 1 and Variations on a Theme by Haydn—a symphony was something different, requiring a newfound comfort level in writing for the orchestra, and, still more significantly, that he overcome his fear of following in Beethoven’s footsteps. And though Beethoven’s influence is certainly to be felt in the First Symphony’s C minor-to-major progress, rhythmic thrust, and motivically based construction, there is no mistaking the one composer for the other, given Brahms’s more typical expansiveness and unequivocally 19th-century- Romantic musical language.

The work elicited conflicting responses when it was new, likely due to its seemingly disparate elements. The lyricism of the two inner movements suggests a world quite different from the defiant, tension-filled opening movement and boldly structured finale; and certainly we are nowadays more attuned to the contrapuntal density of Brahms’s writing than his contemporaries would have been. Before the premiere, Brahms himself characterized the work as “long and not exactly amiable.” But as we recognize today, it is the cumulative impact that matters most: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and Allegretto to the major-mode triumph of the closing pages.

Richard Dyer (Haydn)/Marc Mandel

34 Franz Joseph Haydn Cello Concerto No. 1 in C

FRANZ JOSEPH HAYDN was born at Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He probably composed his C major cello concerto about 1765, to judge from the relative location of the entry of its main theme in Haydn’s own thematic catalogue of his works. It was most likely written for, and performed soon after its completion by, the principal cellist at Eszterháza, Joseph Weigl.

IN ADDITION TO THE SOLO CELLO, the score calls for two oboes, two horns, and strings.

Haydn wrote relatively few concertos compared to most composers of his day, and most of those few have survived only by accident, often in a single copy. One dramatic example of this is the C major cello concerto, which was completely lost and known only through a two-measure entry of its principal theme in Haydn’s personal thematic catalogue of his works until an old copy turned up in Prague in 1961, one of the most significant and exciting rediscoveries of Haydn research in the 20th century. Forhere was a prime example of Haydn in his early maturity, a work almost certainly written for and played by the principal cellist in the Esterházy establishment, Joseph Weigl.

The concerto was the most popular and successful instrumental form of the Baroque, coming out of Italy, where it had been stamped with the signature of Vivaldi; its very success meant that composers tended to use the traditional techniques even as a new approach to harmonic organization, texture, and thematic structure was having a powerful effect on the nascent symphony and string quartet. The concerto thus became some what old-fashioned and retained far longer than the symphony the beat-marking rhythms of the Baroque and the concatenation of small rhythmic motives to build up a theme rather than classically balanced phrases. Formally, too, the concerto still built upon the Baroque ritornello form, which stated the principal material as blocks in a series of different keys linked by virtuosic passages for the soloist, although the ritornello arrangement gradually achieved détente with the sonata-form layout that became standard in the symphony.

week 11 program notes 35 Program page for the first Boston Symphony performance of Haydn’s C major cello concerto on July 9, 1965, at Tanglewood, with then BSO principal Jules Eskin as soloist and Erich Leinsdorf conducting (BSO Archives)

36 The Esterházy Palace in Vienna

Haydn’s C major concerto is a splendid example of this transitional period; we can almost hear Haydn breaking the ties with the Baroque and becoming more “classical” as the work progresses, since the first movement has a great deal more of the small rhythmic cells and the standard syncopation that became such a cliché in the late concerto, although it also makes a bow to sonata form. But the last movement comes from the world of the contemporary symphonies, with scarcely a glance backward. In be tween comes a serenade-like Adagio that focuses attention on the graceful lyricism almost throughout.

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

THE FIRST BOSTON SYMPHONY PERFORMANCE of Haydn’s Cello Concerto No. 1 took place at Tanglewood on July 9, 1965, with then BSO principal cellist Jules Eskin under the direction of Erich Leinsdorf, Eskin subsequently giving additional performances under Leinsdorf, as well as with conductors Joseph Silverstein, Michael Tilson Thomas, Klaus Tennstedt, and Leonard Slatkin. The first subscription performances, in October 1965, featured Mstislav Rostropovich under Leinsdorf’s direction; Rostropovich later performed the second and third movements as part of the BSO’s Centennial Gala in October 1981 with Seiji Ozawa conducting, and a complete Tanglewood performance under Hugh Wolff in August 1998. Other BSO performances have featured Yo-Yo Ma (on seven occasions between 1986 and 2016, with Gunther Herbig, Ozawa [twice], Charles Dutoit, Donald Runnicles, Michael Stern, and Ton Koopman), Wendy Warner (with André Previn), Steven Isserlis (with David Robertson), Daniel Müller-Schott (also with Previn), Alisa Weilerstein (with Christoph Eschenbach), and Lynn Harrell (with Rafael Frühbeck de Burgos). The BSO’s most recent subscription and Tanglewood performances were with Yo-Yo Ma, the former in January 2010 with Ton Koopman, the latter on August 27, 2016, with Michael Stern.

week 11 program notes 37 Follow the local stories.

wgbhnews.org Johannes Brahms Symphony No. 1 in C minor, Opus 68

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He completed his First Symphony in 1876, though some of the sketches date back to the 1850s. Otto Dessoff conducted the first performance on November 4, 1876, at Karlsruhe.

BRAHMS’S FIRST SYMPHONY IS SCORED for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

When Brahms finished his First Symphony in September 1876, he was forty-three years old. (Beethoven was twenty-nine, Schubert fifteen, Schumann twenty-two, and Mahler twenty-eight at the completion of their respective first symphonies; Mozart was eight or nine, but that’s another story altogether.) As late as 1873, the composer’s publisher Simrock feared that a Brahms symphony would never happen (“Aren’t you doing anything any more? Am I not to have a symphony from you in ’73 either?” he wrote the composer on February 22), and Eduard Hanslick, in his review of the first Vienna performance, noted that “seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation.”

Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony), and that masterwork of orchestral know-how and control, the Variations on a Theme by Haydn. But a symphony was something different and had to await the sort- ing out of Brahms’s complicated emotional relationship with Robert and Clara Schumann (only after Robert’s death in 1856 could Brahms finally begin to accept that his passion for the older Clara had to remain unrequited), and, more important, of his strong feelings about following in Beethoven’s footsteps.

Beethoven’s influence is certainly to be felt in Brahms’s First Symphony: in its C minor- to-major progress; in the last-movement theme resembling the earlier composer’s Ode to Joy—a relationship Brahms himself acknowledged as something that “any ass

week 11 program notes 39 Program page for the first Boston Symphony Orchestra performance of Brahms’s Symphony No. 1 on December 10, 1881, during the orchestra’s inaugural season, with Georg Henschel conducting (BSO Archives)

40 could see” (perhaps less obvious is the relationship between the theme itself and the slow-moving violin phrase of the last movement’s opening measures); and, perhaps most strikingly, in the rhythmic thrust and tight, motivically-based construction of the work—in some ways quite different from the melodically expansive Brahms we encounter in the later symphonies. But at the same time, there is really no mistaking the one composer for the other: Beethoven’s rhythmic drive is very much his own, whereas Brahms’s more typical expansiveness is still present throughout this symphony, and his musical language is unequivocally 19th-century-Romantic in manner.

Following its premiere at Karlsruhe on November 4, 1876, and its subsequent appear - ance in other European centers, the symphony elicited conflicting reactions. Brahms himself had already characterized the work as “long and not exactly amiable.” Clara Schumann found the ending “musically, a bit flat... merely a brilliant afterthought stem- ming from external rather than internal emotion.” Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner’s Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed “probably the greatest thing [Brahms] has yet created in the instrumental field.” The composer’s close friend Theodor Billroth described the last movement as “over- whelming,” but found the material of the first movement “lacking in appeal, too defiant and harsh.”

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week 11 program notes 41

The critic Eduard Hanslick (1825-1904), staunch Brahmsian, staunch anti-Wagnerian

One senses in these responses an inability to reconcile apparently conflicting elements within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Eduard Hanslick put it, “the astonishing contrapuntal art” on the one hand and the “immediate communicative effect” on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale.

The first Allegro’s two principal motives—the three eighth-notes followed by a long er value, suggesting an abstraction of the opening timpani strokes, and the hesitant, three- note chromatic ascent across the bar, heard at the start in the violins—are already suggested in the sostenuto introduction, which seems to begin in mid-struggle. The movement is prevailingly somber in character, with a tension and drive again suggestive of Bee tho ven. The second idea’s horn and wind colorations provide only passing relief: their dolce and espressivo markings will be spelled out at greater length in the symphony’s second movement.

The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threatened by the G-sharp minor of the movement’s middle section (whose sixteenth-note figura- tions anticipate the main idea of the third movement), but tranquility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat Allegretto is typical of Brahms in a grazioso mood—compare the Second Symphony’s third movement, or the finale of the Piano Concerto No. 2—and continues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the

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44 outer ones, so too are they musically distant, having passed from the opening C minor to third-related keys: E major for the second movement and A-flat major for the third.

At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement that precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its introduction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn motto and then the Allegro with its two main ideas: the broad C major tune suggestive of Beethoven’s Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms’s musical hallmark. The movement drives to a climax for full or ches tra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle.

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

THE FIRST AMERICAN PERFORMANCE of Brahms’s Symphony No. 1 was given by Leopold Damrosch on December 15, 1877, in New York’s Steinway Hall. The first Boston performance was given by Carl Zerrahn on January 3, 1878, in a Harvard Musical Association concert at the Music Hall.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF BRAHMS’S SYMPHONY NO. 1 was during the orchestra’s inaugural season, on December 10, 1881, under Georg Henschel, who pro- grammed it again in December 1882 and December 1883. Subsequent BSO performances were given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Sir Adrian Boult, Charles Munch, Guido Cantelli, Carl Schuricht, Eugene Ormandy, Erich Leinsdorf, William Steinberg, Rafael Kubelik, Bruno Maderna, Joseph Silverstein, Seiji Ozawa, Georg Solti, Leonard Bernstein, Christoph von Dohnányi, Pascal Verrot, Charles Dutoit, Bernard Haitink, James Levine, Rafael Frühbeck de Burgos, Vladimir Jurowski (the BSO’s most recent Tanglewood performance, on July 19, 2013), and Andris Nelsons (the most recent subscription performances, in November 2016, preceded on July 19, 2016, by his performance with the Tanglewood Music Center Orchestra as part of that summer’s Leonard Bernstein Memorial Concert at Tanglewood).

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The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon (Indiana University Press). The C major cello concerto is discussed (briefly) in Volume I, “Haydn: The Early Years, 1732-1765,” where Robbins Landon calls it “the major [Haydn] discovery of our age.” A useful single-volume source on Haydn and his music is Haydn, edited by David Wyn Jones, in the short-lived series “Oxford Composer Companions” (Oxford University Press). James Webster’s Haydn entry from the 2001 New Grove Dictionary of Music and Musicians was published separately as The New Grove Haydn (Oxford paperback). Jens Peter Larsen’s entry from the 1980 edition of Grove was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes’s Haydn in the “Master Musicians” series (Littlefield paperback). If you can track down a used copy, László Somfai’s copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer’s life, work, and times (Taplinger).

Truls Mørk has recorded Haydn’s C major and D major cello concertos with Iona Brown and the Norwegian Chamber Orchestra (Erato). Other recordings of the C major concerto include (listed alphabetically by soloist) Jacqueline Du Pré’s with Daniel Barenboim and the English Chamber Orchestra (EMI), Lynn Harrell’s with Neville Marriner and the Academy of St. Martin in the Fields (EMI), Yo-Yo Ma’s with José L. Garcia and the English Chamber Orchestra (Sony), Daniel Müller-Schott’s with Richard Tognetti and the Australian Chamber Orchestra (Orfeo), Mstislav Rostropovich’s with Benjamin Britten and the English Chamber Orchestra (Decca, from 1964), and Pieter Wispelwey’s with the Florilegium Ensemble (Channel Classics).

Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the “Master Musicians” series (Schirmer); Michael Musgrave’s A Brahms Reader, which offers wide-ranging consideration of the composer’s life and work (Yale University Press); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronology of

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48 the composer’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (from 1905, but periodically available in reprint editions). For detailed analysis of the works, go to Michael Musgrave’s The Music of Brahms (Oxford paperback) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of his symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washington paperback). The Brahms symphonies are discussed in Donald Ellman’s chapter “The Symphony in Nineteenth-century Germany” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s notes on the four Brahms symphonies are in his compilation volume The

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The Boston Symphony Orchestra has recorded Brahms’s Symphony No. 1 five times, most recently live in November 2016 under Andris Nelsons as part of his complete Brahms symphony cycle with the orchestra (BSO Classics), and before that in 1994 under Bernard Haitink (as part of his Brahms symphony cycle with the BSO for Philips), in 1977 under Seiji Ozawa (Deutsche Grammophon), in 1963 under Erich Leinsdorf (as part of his Brahms symphony cycle with the BSO for RCA), and in 1956 under Charles Munch (RCA). An historic BSO telecast from Sanders Theatre of a 1961 Brahms First under Charles Munch has been issued on DVD (ICA Classics, paired with a 1960 Munch/ BSO telecast of the Brahms Second). Other noteworthy cycles of the four symphonies include Daniel Barenboim’s with the Chicago Symphony Orchestra (Erato), Bernard Haitink’s with the London Symphony Orchestra (LSO Live), Nikolaus Harnoncourt’s with the Berlin Philharmonic (Teldec), Marek Janowski’s with the Pittsburgh Symphony (Pentatone), Herbert von Karajan’s early-1960s cycle with the Berlin Philharmonic (Deutsche Grammophon), James Levine’s with the Chicago Symphony (RCA) and live with the Vienna Philharmonic (Deutsche Grammophon), Charles Mackerras’s with the Scottish Chamber Orchestra, in “period style” with interpretive choices suggested by documentation from Meiningen, Germany, where Brahms himself frequently conducted the orchestra (Telarc), Simon Rattle’s with the Berlin Philharmonic (EMI), and Christian Thielemann’s with the Staatskapelle Dresden (Deutsche Grammophon). Noteworthy single-issue recordings of the Brahms First include Iván Fischer’s with the Budapest Festival Orchestra (Channel Classics) and Vladimir Jurowski’s live with the London Philharmonic (LPO).

For those interested enough in historic recordings to listen through dated sound, both Arturo Toscanini and Wilhelm Furtwängler left multiple accounts of the Brahms First Symphony (various labels). Toscanini’s live performances with the NBC Symphony Orchestra from 1937 (on Christmas Eve, from his very first concert with that ensemble) and May 1940 (from Carnegie Hall) are outstanding, as is Furtwängler’s 1951 broadcast with the North German Radio Symphony Orchestra of Hamburg. There is also a very beautiful 1953 recording by Toscanini protégé Guido Cantelli with the Philharmonia Orchestra (Testament, ICA Classics, and Warner Classics). The Brahms recordings of Willem Mengelberg with the Concertgebouw Orchestra (previously available on Naxos and Tahra) and of Felix Weingartner with the London Philharmonic and London Sym- phony Orchestra (previously available on Living Era, Naxos, and EMI) will be important to anyone interested in the recorded history and performance practice of these works.

Marc Mandel

week 11 read and hear more 51

Guest Artists

Herbert Blomstedt

A tribute to Maestro Herbert Blomstedt from his management team at KünstlerSekretariat am Gasteig, Munich, Germany:

Noble, charming, sober, modest. Such qualities may play a major role in human coexistence and are certainly appreciated. However, they are rather atypical for extraordinary person- alities such as conductors. Whatever the general public’s notion of a conductor may be, Herbert Blomstedt is an exception, precisely because he possesses those very qualities that seemingly have so little to do with a conductor’s claim to power. The fact that he disproves the usual clichés in many respects should certainly not lead to the assumption that this artist does not have the power to assert his clearly defined musical goals. Anyone who has once attended Herbert Blomstedt’s rehearsals and experienced the concentration on the essence of the music, the precision in the phrasing of musical facts and circum- stances as they appear from the score, the tenacity regarding the implementation of an aesthetic view, will probably have been amazed at how few despotic measures were required to this end. Basically, Herbert Blomstedt has always represented that type of artist whose professional competence and natural authority make all external emphasis superfluous. His work as a conductor is inseparably linked to his religious and human ethos; accordingly, his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world. Over the years, many outstanding ensembles around the globe have been able to secure

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54 the services of this highly respected Swedish conductor, born in the USA and educated in Uppsala, New York, Darmstadt, and Basel. Now over ninety, Herbert Blomstedt continues to be at the helm of all leading international orchestras with enormous mental and physical presence, verve, and artistic drive.

Herbert Blomstedt made his Boston Symphony Orchestra debut at Tanglewood in 1980 and his BSO subscription series debut in February 2004, returning to Tanglewood in 2006 for an appearance with the Tanglewood Music Center Orchestra as well as two programs with the BSO. Since then he has led Tanglewood concerts in 2009 and 2010, and subscription series at Symphony Hall in 2009, 2016, and 2018. At Tanglewood last summer he conducted the Bos- ton Symphony Orchestra in two concerts and led the Tanglewood Music Center Orchestra in a performance of Brahms’s Symphony No. 4.

Truls Mørk

Truls Mørk’s compelling performances have established him as one of the preeminent cellists of our time. He has appeared with such distinguished orchestras as the Orchestre de Paris, Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Munich Philharmonic, the Philharmonia and London Philharmonic orchestras, and Gewandhaus- orchester Leipzig. In North America he has appeared with the New York and Los Angeles philharmonics, the Philadelphia and Cleveland orchestras, and the Boston Symphony Orchestra. Conductors with whom he has collaborated include Mariss Jansons, David Zinman, Manfred Honeck, Esa-Pekka Salonen, Gustavo Dudamel, Sir Simon Rattle, Kent Nagano, Yannick Nézet-Séguin, and Christoph Eschenbach, among others. Engagements during the 2018-19 season take him to the San Francisco Symphony, Leipzig Gewandhaus Orchestra, Boston Symphony Orchestra, Orchestre de Paris, Bayerisches Staatsoper, the NDR Elbphilharmonie Orchester, Montreal Symphony, and Zurich’s Tonhalle Orchestra. Following his appearance at the 2018 Baltic Sea Festival performing Esa-Pekka Salonen’s Cello Concerto (2016) under the composer’s direction, he will play the work again with the Philharmonia Orchestra under Salonen in London, and on a U.S. tour to include New York’s Lincoln Center and CAL Performances in Berkeley. He continues to give regular recitals

week 11 guest artists 55 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston at major venues and festivals worldwide and has recently developed a collaboration with pianist Behzod Abduraimov, with whom he will tour in the U.S. and Europe. A champion of contemporary music, Truls Mørk has given more than thirty premieres, among them Rautavaara’s Towards the Horizon with the BBC Symphony under John Storgårds, Pavel Haas’s Cello Concerto with the Vienna Philharmonic under Jonathan Nott, Penderecki’s Concerto for Three Cellos with the NHK Symphony, and Hafliði Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony, and Scottish Chamber orchestras. Many of his concerto recordings for such labels as Virgin Classics, EMI, Deutsche Grammophon, Ondine, Arte Nova, and Chandos have won international honors including Gramophone, Grammy, Midem, and ECHO Klassik awards. These include Dvoˇrák’s Concerto (Jansons/Oslo Philharmonic), Britten’s Cello Symphony and Elgar’s Concerto (Rattle/City of Birmingham Symphony Orchestra), Miaskovsky’s Concerto and Prokofiev’s Sinfonia Concertante (Paavo Järvi/CBSO), Dutilleux (Myung-Whun Chung/ Orchestre Philharmonique de Radio France), C.P.E. Bach (Bernard Labadie/Les Violons du Roy), Haydn’s concertos (Iona Brown/Norwegian Chamber Orchestra), and Rautavaara’s Towards the Horizon (Storgårds/Helsinki Philharmonic); he has also recorded the complete cello suites of Bach and Britten. His most recent releases include Shostakovich’s concertos (Oslo Philharmonic Orchestra/Vasily Petrenko), works for cello and orchestra by Massenet (Orchestre de la Suisse Romande/Neeme Järvi), and the Saint-Saëns concertos (Bergen Philharmonic/Neeme Järvi). Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff, and Natalia Schakowskaya. In his early career he won such competitions as the Tchaikovsky Competition in Moscow (1982), the Cassado Cello Competition in Florence (1983), the Unesco Prize at the European Radio- Union competition in Bratislava (1983), and the Naumberg Competition in New York (1986). Truls Mørk has appeared on two previous occasions with the Boston Symphony Orchestra, as soloist in Dutilleux’s Tout un monde lointain... in November 2004 with André Previn conducting, and in Shostakovich’s Cello Concerto No. 2 in October 2007 with Marek Janowski.

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15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 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 Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

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

‡ Deceased

week 11 the great benefactors 61 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2018-19 season. ‡ This symbol denotes a deceased donor.

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

The Higginson Society The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by January 4, 2019. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg ‡ • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2) encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok •

week 11 the maestro circle 63

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64 Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Diddy and John Cullinane • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Robert and Roberta Winters • Anonymous (5) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Liliana and Hillel Bachrach • Judith and Harry ‡ Barr • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Mr. and Mrs. David S. Lee • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Robert ‡ and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Anonymous sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks •

week 11 the higginson society 65 LIZA VOLL PHOTOGRAPHY LIZA VOLL

66 Mr. and Mrs. Eugene F. Barnes III • Lucille Batal • Mr. Edward B. Berk and Ms. Naomi Weinberg • Jim and Nancy Bildner • Peter Blau and Cristina Coletta Blau • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Joseph Brooks • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Mr. and Mrs. Miceal Chamberlain, Jr. • Ms. Bihua Chen and Jackson J. Loomis, Ph.D. • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Robert and Sara Danziger • Deborah B. Davis • Mr. and Mrs. Samuel Denbo • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Marjorie and Nicholas Greville • David and Harriet Griesinger • Alexander Healy • Carol and Robert Henderson • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas Byrne • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. ‡ and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Susan Johnston • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Henry Lee • Rosemarie and Alexander Levine • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Susan J. Pharr and Robert C. Mitchell • Ann M. Philbin • Andrew and Suzanne Plump • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • John Sherburne Reidy • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Mrs. Marvin G. Schorr • Lynda Anne Schubert • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8)

week 11 the higginson society 67 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has Andrew Plump, brought the hope of Better Health and a Brighter Future to people around the M.D., Ph.D. Chief Medical and world through our empathetic and people-centered approach to science and Scientific Officer medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra in its efforts to bring artistic excellence to the local community and across the globe.

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the first year of our partnership.

OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing arts and arts Charlie Schewe education programs continues to delight and enrich Massachusetts and beyond Director of Sales- with each passing season. As the BSO continues to help classical music soar, New England Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO Fairmont Copley Plaza has had the honor of being the official hotel of the BSO George Terpilowski for more than 15 years. Located less than a mile from Symphony Hall, we are Regional Vice President, North East U.S. and proud to offer luxury accommodations for the talented artists and conductors General Manager, that captivate Boston audiences. Together our historic institutions are a symbol Fairmont Copley Plaza of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

week 11 bso major corporate sponsors 69 BOSTON PHILHARMONIC ORCHESTRA BEETHOVEN - FEBRUARY 14, 16, 17 IVES & MAHLER - APRIL 26

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Download the App Administration

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

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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

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

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

week 11 administration 73 Listen. The future of music, made here.

Exceptional music, every day. See musicians of tomorrow, today.

Join the conversation on social. #BSO1819

@BostonSymphony

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

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Individual Giving Advisor • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Assistant Director of Board Administration • Barbara Hanson, Senior Leadership Gifts Officer • Michelle Houle, Major Gifts Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director, Individual Giving, Annual Funds • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Francis Rogers, Major Gifts Officer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement Leslie Wu Foley, Interim Director of Education and Community Engagement Jenna Goodearl, Program Director, Youth and Family Initiatives • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 11 administration 75 ONE PERFORMANCE ONLY Sunday, January 27, 2019 at 3pm Sanders Theatre at Harvard University

Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

Tickets $40–$60 www.BYSOweb.org or 617-496-2222 LaPuccini Bohème

THE GREAT BACH A BAROQUE BEETHOVEN CONCERTOS AND CHRISTMAS SYMPHONY NO. 5 CANTATAS Dec 13 + 16 Mar 8 + 10 Sep 28 + 30 NEC’s Jordan Hall Symphony Hall Symphony Hall

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HANDEL MESSIAH GLORIES OF THE MOZART REQUIEM Nov 30 + Dec 1 + 2 ITALIAN BAROQUE May 3 + 5 Symphony Hall Feb 22 + 24 Symphony Hall NEC’s Jordan Hall MASTERFULLY PERFORMED. PASSIONATELY SHARED.

HANDELANDHAYDN.ORG 617.266.3605

76 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Isa Cuba, IT Services Team Leader • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Matthew Erikson, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

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

week 11 administration 77 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

SEASON TICKETS TO AN EXCEPTIONAL LIFESTYLE DISCOVER NEW ADVENTURES EVERY DAY AT

299 Cambridge Street Winchester, MA 01890 781-756-1026

OUR LIFESTYLE360 PROGRAMMING INCLUDES: • Season Tickets to Boston Pops, Symphony • Trips to the Boston Library and Museums • Off-site Tours of Fenway Park • Local Shopping Outings • Theatre Shows Call 781-756-1026 to join us for a Lifestyle360 activity. www.TheGablesAtWinchester.com INDEPENDENT & ASSISTED LIVING • RESPITE STAYS ©2018 Five Star Senior Living

week 11 administration 79 Next Program…

Thursday, January 24, 8pm Friday, January 25, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 26, 8pm Tuesday, January 29, 8pm

john storgårds conducting

kaija saariaho “ciel d’hiver” (2013)

mozart piano concerto no. 22 in e-flat, k.482 Allegro Andante Allegro—Andantino cantabile—Tempo primo martin helmchen

{intermission}

sibelius symphony no. 6, opus 104 Allegro molto moderato Allegretto moderato Poco vivace Allegro molto

sibelius symphony no. 7, opus 105, in one movement

Making his BSO subscription series debut, conductor John Storgårds leads pianist Martin Helmchen in Mozart’s gregarious, large-scale Piano Concerto in E-flat, K.482, composed in late 1785 when Mozart was also working on his comic opera The Marriage of Figaro. The Finnish Storgårds also brings three Finnish works to Symphony Hall, beginning with Kaija Saariaho’s gorgeous study of orchestral color Ciel d’hiver (“Winter Sky”), an arrangement of a movement from her earlier, symphony-like Orion. Jean Sibelius’s final two symphonies, nos. 6 and 7, are two of the greatest works in the symphonic literature. Though very different from one another, both demonstrate the composer’s distinctively rich orchestration and organic, fluid transformations of material.

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

Thursday ‘D’ January 24, 8-10:10 Thursday, February 7, 10:30am (Open Rehearsal) Friday ‘B’ January 25, 1:30-3:40 Thursday ‘A’ February 7, 8-9:55 Saturday ‘A’ January 26, 8-10:10 Friday ‘B’ February 8, 1:30-3:25 Tuesday ‘C’ January 29, 8-10:10 Saturday ‘A’ February 9, 8-9:55 JOHN STORGÅRDS, conductor Tuesday ‘C’ February 12, 8-9:55 MARTIN HELMCHEN, piano ANDRIS NELSONS, conductor LISA BATIASHVILI KAIJA SAARIAHO Ciel d’hiver , violin MOZART Piano Concerto No. 22 WILSON Lumina in E-flat, K.482 SZYMANOWSKI Violin Concerto No. 1 SIBELIUS Symphony No. 6 COPLAND Symphony No. 3 SIBELIUS Symphony No. 7

Thursday ‘C’ February 14, 8-10 Thursday ‘C’ January 31, 8-10:15 Friday ‘A’ February 15, 1:30-3:30 Friday ‘A’ February 1, 1:30-3:45 Saturday ‘A’ February 16, 8-10 Saturday ‘B’ February 2, 8-10:15 ANDRIS NELSONS, conductor Tuesday ‘B’ February 5, 8-10:15 YUJA WANG, piano JUANJO MENA, conductor SCHUMANN Piano Concerto JULIAN RACHLIN, violin BRUCKNER Symphony No. 9 HAYDN Symphony No. 44, Trauer MENDELSSOHN Violin Concerto JANÁCˇEK Suite from The Cunning Little Vixen JANÁCˇEK Sinfonietta

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; 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. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 11 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 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 $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-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 line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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 11 symphony hall information 83 Subscriber 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) 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 and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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 Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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