Welcome Back to Symphony Hall

It is with great pleasure that I welcome you to Opening Night at Symphony—a celebration to inaugurate the Boston Symphony Orchestra’s 132nd season. A musical treasure that is respected and enjoyed throughout the world, the Boston Symphony tonight reaffirms its tradition of artistic excellence as it begins yet another spectacular season at Symphony Hall. I am delighted that you are here to enjoy it with us this evening. Tonight, we begin this exciting season with the legendary in the dual role of soloist and conductor for an all-Beethoven program. For a special Opening Night pro- gram, Mr. Perlman joins the BSO to perform Beethoven’s Romances No. 1 and 2 for and orchestra, and the composer’s Symphony No. 7. Mr. Perlman’s virtuosity, combined with our unparalleled BSO musicians, will create an evening to remember—and a perfect way to commence another enthralling season. A gala event such as Opening Night at Symphony is only successful when planned and carried out under the caring stewardship of dedicated friends of the Boston Symphony. This year, Roberta and Stephen Weiner served as chairs of our Gala Committee, which has worked to raise a record amount for a BSO opening night, bringing in donations of more than $1.5 million for the BSO. Their detailed and tireless attention to ensuring the success of all aspects of this event was inspiring, and I thank them sincerely for their hard work and commitment to the BSO. I must also recognize the BSO’s corporate sponsors, without whom this orchestra would not be able to fulfill its ambitious musical mission. We are deeply grateful to our Season Sponsors, Bank of America and EMC Corporation, for their partnership and ongoing support. I hope you enjoy tonight’s Opening Night concert at historic Symphony Hall, and I encour- age you to make this one of many frequent visits to a BSO concert this season. We are privileged to have such an esteemed orchestra performing night after night in one of the finest concert halls in the world, all right here in Boston. Our guest tonight, Itzhak Perlman, once said, “Music is the soul of a society.” The Boston Symphony is an integral part of the soul of our society as we know it, and it is a gem from Boston that we share with the world.

Edmund F. Kelly

Chairman

opening night welcome 1 , lacroix family fund conductor emeritus, endowed in perpetuity , music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

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

life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board

board of overseers of the boston symphony orchestra, inc.

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

2 photos by Michael J. Lutch

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

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

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of Symphony Hall proscenium plaque by Peter Vanderwarker

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

opening night trustees and overseers 3 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s section, featuring a recent gift to the BSO Archives of two owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of , the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

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

opening night on display 5 Boston Symphony Orchestra 2012–2013

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

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

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

opening night boston symphony orchestra 7 S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of founder Henry Lee Higginson, who envisioned a great and perma- nent orchestra in his hometown. Today the BSO reaches millions through radio, television, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known world- wide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

The BSO played its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most highly regarded concert halls, was opened on October 15, 1900. Henschel was succeeded by German-born and -trained conductors , , Emil Paur, and , cul- minating in the appointment of the legendary , who served two tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and ful- filling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. , engaged as con- ductor in 1918, was succeeded a year later by . These appointments marked

8 S Archives BSO

Rush ticket line at Symphony Hall, probably in the 1930s

the beginning of a French tradition maintained, even during the Russian-born Serge Kousse- vitzky’s tenure (1924-49), with the employment of many French-trained musicians.

In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orches- tra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by in 1980 and Keith Lockhart in 1995.

It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires. A year later, he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by . Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra.

The first American-born conductor to hold the position, was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra's 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals.

Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

opening night a brief history of the bso 9

Opening Night at Symphony 2012 Benefactor Committee

gala chairs Roberta and Stephen R. Weiner

gala committee Alli and Bill Achtmeyer Joyce Linde Helaine B. Allen Elizabeth W. and John M. Loder George D. and Margo Behrakis Nancy and Richard Lubin Peter and Anne Brooke Carmine A. and Beth V. Martignetti Gregory Bulger and Richard Dix Jane and Robert J. Mayer, M.D. Katie and Paul Buttenwieser Joseph C. McNay Katherine Chapman and Thomas Stemberg Paul and Sandra Montrone John F. Cogan, Jr. and Mary L. Cornille Sandra Moose and Eric Birch Carol Feinberg Cohen Megan and Robert O’Block Dr. Lawrence H. and Roberta Cohn Susan Paine Donna and Don Comstock Mrs. Irene Pollin Diddy and John Cullinane Maureen and Joe Roxe Cynthia and Oliver Curme Arthur I. Segel Julie and Ronald M. Druker Gilda and Alfred Slifka Darlene and Jerry Jordan Stephen and Dorothy Weber Stephen B. Kay and Lisbeth L. Tarlow Frank Wisneski and Lynn Dale Ted and Debbie Kelly Rhonda and Michael J. Zinner, M.D. Cynthia and Robert J. Lepofsky

Season Sponsors

opening night at symphony 11 Opening Night at Symphony Saturday, September 22, 2012 The Boston Symphony Orchestra recognizes with extreme gratitude the following individuals and companies for their incredible support of this year’s Opening Night at Symphony.

underwriting benefactors $100,000+ Eileen and Jack Connors, Jr. Joyce Linde John and Cyndy Fish David G. Mugar Ted and Debbie Kelly Roberta and Stephen R. Weiner

platinum benefactors $50,000 - $99,999 Alli and Bill Achtmeyer and Gilda and Alfred Slifka The Parthenon Group

gold benefactors $25,000 - $49,999 Roberta and Irwin Chafetz Carmine A. and Beth V. Martignetti Herb Chambers Megan and Robert O’Block Katherine Chapman and Thomas Stemberg Bryan Rafanelli Paul and Phyllis Fireman Foundation Maria and Ray Stata GW & K Investment Management Melissa Weiner Janfaza and Andrew Janfaza Howard and Michele Kessler and Rita and Adam J. Weiner Carolyn and Peter S. Lynch

silver benefactors $15,000 - $24,999 George D. and Margo Behrakis Cynthia and Robert J. Lepofsky Lorraine D. and Alan S. Bressler Elizabeth W. and John M. Loder Katie and Paul Buttenwieser Nancy and Richard Lubin The Cavanagh Family Paul and Sandra Montrone John F. Cogan, Jr. and Mary L. Cornille Sandra Moose and Eric Birch Dr. Lawrence H. and Roberta Cohn Maureen and Joe Roxe/The Roxe Foundation Donna and Don Comstock Gerald and Elaine Schuster Diddy and John Cullinane Arthur I. Segel Cynthia and Oliver Curme Martin and Diane Trust Jonathan and Margot Davis Stephen and Dorothy Weber Julie and Ronald M. Druker Frank Wisneski and Lynn Dale Darlene and Jerry Jordan Rhonda and Michael J. Zinner, M.D. Stephen B. Kay and Lisbeth L. Tarlow Anonymous

12 $5,000 - $14,999 Roberta and George Berry William and Lia Poorvu Peter and Anne Brooke William and Helen Pounds Carol Feinberg Cohen John S. and Cynthia Reed Dozier and Sandy Gardner Debora and Alan Rottenber Mr. and Mrs. Robert D. Matthews, Jr. Solange Skinner Jane and Robert J. Mayer, M.D. Jacqueline and Albert Togut Ann Merrifield and Wayne Davis Robert and Roberta Winters Drs. Joseph J. and Deborah M. Plaud Patricia Plum Wylde Mrs. Irene Pollin Anonymous (2) Jonathan and Amy Poorvu

$2,500 - $4,999 Mr. and Mrs. Eugene F. Barnes III The Richard P. and Claire W. Morse Gregory Bulger and Richard Dix Foundation Dr. Charles L. Cooney and Ms. Peggy Reiser Mary S. Newman Prudence and William Crozier Katherine and Anthony Pell Dr. William T. Curry, Jr. and Paul and Nancy Petry Ms. Rebecca Nordhaus Claudio and Penny Pincus Mr. and Mrs. Philip J. Edmundson Peter and Suzanne Read William and Deborah Elfers Dr. Robin S. Richman and Nancy J. Fitzpatrick and Lincoln Russell Dr. Bruce S. Auerbach Jane and Jim Garrett Wendy Shattuck and Samuel Plimpton Rosalind Hurwitz and Herb Stern Kristin and Roger Servison Mr. and Mrs. John L. Klinck, Jr. Margery and Lewis Steinberg Jeffrey E. Marshall Gay and Campbell Steward Joseph C. McNay, The New Theresa M. and Charles F. Stone III Foundation John and Margaret Towers Maureen J. Miskovic University of Massachusetts Boston Anonymous

$1,250 - $2,499 Mrs. Winfred P. Gray John Lowell Thorndike Daniel A. Mullin Joan D. Wheeler Ann M. Philbin Marillyn Zacharis in-kind donors Be Our Guest Port Lighting Boston Gourmet Rafanelli Events Commonwealth Worldwide Chauffeured W. J. Deutsch & Sons, Ltd. Transportation Winston Flowers

List as of September 10, 2012

opening night at symphony 13

bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, September 22, 7pm | opening night at symphony

itzhak perlman, violin soloist and conductor

ALL-BEETHOVEN PROGRAM

romance no. 1 in g for violin and orchestra, opus 40 romance no. 2 in f for violin and orchestra, opus 50 mr. perlman

symphony no. 7 in a, opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio

Please note that there will be no intermission in this concert.

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

opening night program 15 Guest Artist

Itzhak Perlman

Itzhak Perlman is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy in making music. In January 2009 Mr. Perlman took part in the inauguration of President , premiering John Williams’s Air and with clarinetist Anthony McGill, pianist , and cellist Yo-Yo Ma. A Kennedy Center Honor recipient, he performed at the 2007 State Dinner for Her Majesty The Queen and His Royal Highness The Duke of Edinburgh, hosted by President George W. Bush and Mrs. Bush at the White House. Born in Israel in 1945, Mr. Perlman com- pleted his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show. Following his studies at the with Ivan Galamian and Dorothy DeLay, Mr. Perlman won the 1964 Leventritt Competition, which led to a burgeoning worldwide career. Since then, he has appeared with every major orchestra and in recitals and festivals around the world, including increasingly frequent appearances on the conductor’s podium. He has served as music advisor of the St. Louis Symphony and principal guest conductor of the Detroit Symphony. He has been guest conductor with numerous orchestras in the and abroad, as well as at the Tanglewood, Ravinia, and OK Mozart festivals. Highlights of Mr. Perlman’s 2012-13 season include Opening Night with the Boston Symphony Orchestra as conductor/soloist; the ’s season opener under , to be televised on PBS’s Live From Lincoln Center; recitals in Peru, Brazil, and Argentina with pianist and frequent collaborator Rohan De Silva; the release of his new album, “Eternal Echoes,” on the Sony Classical label, and various performances in support of that album, including appear-

16 ances in Boston and New York. He will make an extensive tour of recitals and orchestral appearances in cities across North America including Los Angeles, San Francisco, Montreal, Kansas City, Sarasota, Houston, , and Seattle. Mr. Perlman has made many television appearances and has won four Emmy Awards, most recently for PBS’s “Fiddling for the Future,” a film about the Perlman Music Program; in July 2004 PBS aired “Perlman in Shanghai,” about that program’s visit to China. In 2008 he joined renowned chef Jacques Pépin on “Artist’s Table” to discuss the relationship between the culinary and musical arts, and also narrated “Visions of Israel.” One of his proudest achievements is his collaboration with film score composer John Williams on ’s Schindler’s List, in which he performed the violin solos. He was also violin soloist on the soundtracks of Hero (music by Tan Dun) and Memoirs of a Geisha (music by John Williams). The winner of fifteen Grammy Awards, Itzhak Perlman received a Grammy Lifetime Achievement Award in February 2008. Recent releases include an all-Mozart recording with the (EMI) with Mr. Perlman perform- ing as both soloist and conductor and a recording with Mr. Perlman the Israel Philharmonic, with which he has had a long association. He has taught full-time at the Perlman Music Program each summer since its founding in 1994 and currently holds the Dorothy Richard Starling Foundation Chair at the Juilliard School. Harvard, Yale, Brandeis, Roosevelt, Yeshiva, and Hebrew universities are among the institutions that have awarded him honorary degrees. He was awarded an honorary doctorate and a centennial medal on the occasion of Juilliard’s 100th commencement ceremony in May 2005. President Reagan honored Mr. Perlman with a Medal of Liberty, and President Clinton awarded him the . His presence on stage, on camera, and in personal appearances of all kinds speaks eloquently on behalf of the disabled, and his devotion to their cause is an integral part of Mr. Perlman’s life. For more information, visit www.itzhakperlman.com. Itzhak Perlman made his Boston Symphony Orchestra debut in December 1966 and his Tanglewood debut in August 1967, since which time he has appeared a great many times as soloist with the BSO in Boston, on tour, and particularly at Tanglewood, most recently in August 2011 doubling as soloist and conductor for music of Beethoven. Prior to that, his only previous appearance as guest conductor with the BSO was for an August 2000 Tanglewood program of music by Beethoven, Mozart, and Brahms. His recordings as violin soloist with the BSO include music of Barber, Berg, Bernstein, Dvoˇrák, Lukas Foss, Earl Kim, Robert Starer, and Stravinsky with Seiji Ozawa conducting; the Tchaikovsky, Sibelius, and Prokofiev Second violin with Erich Leinsdorf, and John Williams’s film score to Schindler’s List with the composer conducting.

opening night guest artist 17 The Program in Brief...

To open the Boston Symphony Orchestra’s 132nd season, legendary violinist Itzhak Perlman returns to Symphony Hall as both soloist and conductor this evening for an all-Beethoven program featuring the composer’s two Romances for violin and orchestra and the Symphony No. 7.

The composition dates of Beethoven’s two Romances are unknown, but scholars have placed the F major Romance in the last years of the 1790s and the G major Romance in about 1801. As in most of Beethoven’s works featuring solo violin, including the Violin Concerto and most of the sonatas for violin and piano, these pieces lean toward the relaxed, lyrical vein in Beethoven’s style. Both are single-movement works in slow tem- pos. The F major is marked “Adagio, cantabile,” the latter term indicating a singing quality. It is essentially in rondo form, with the opening theme recurring in alternation with new material. The G major Romance begins with unaccompanied solo violin playing a passage in double-stops (two notes at a time), an idea that returns in modified form throughout the piece. It is similar in form and scope to the F major work, perhaps even more consistent in its mood. The Romances are very conservative by Beethoven’s standards; it was in the genres of the piano sonata, string quartet, and symphony that he made the greatest stylistic strides. Having established his credentials as a successor to Mozart and Haydn in his First Symphony, he thereafter pursued a completely different and utterly personal per- spective and argument for each of the remaining works. He wrote the Seventh Symphony in 1812; it had been four years since the premieres of the Fifth and Sixth. It was premiered in on December 8, 1813. The Seventh Symphony begins with the longest of the slow introductions Beethoven wrote for four of his nine symphonies. This spacious, highly developed introduction cedes to the elegant but scintillating dance that is the bulk of the first movement. From that point on, an unrelenting, forward-driving, dancing motion colors the entire sympho- ny, most fascinatingly during the Allegretto second movement. “Allegretto” essentially means “somewhat fast,” so this is not really the slow movement that we might expect in a symphony. Featuring constant change over a nearly steady-state rhythm and repeating harmonic phrase, the Allegretto has been celebrated as one of Beethoven’s most original and compelling creations since its premiere. The third-movement scherzo is joyfully wild but also features a highly contrasting, almost Haydnesque Trio episode. The finale hur- tles forward with even greater energy than the scherzo. The Seventh is a work irresistibly exuberant and thrilling, a perennial favorite called by “the apotheosis of the dance.” Few, if any, have managed to improve upon Wagner’s description of this ecstatic whirlwind of a piece.

18 Romance No. 1 in G for violin and orchestra, Opus 40 Romance No. 2 in F for violin and orchestra, Opus 50

LUDWIG VAN BEETHOVEN was baptized in Bonn, , on December 17, 1770, and died in Vienna on March 26, 1827. He composed his two Romances for violin and orchestra not later than fall 1802, when his brother Karl offered both of them to the publishers Breitkopf & Härtel. The dates of the first performances are not known.

IN ADDITION TO THE SOLO VIOLIN, the Romances are scored for a modest orchestra of one flute, two oboes, two bassoons, two bassoons, two horns, and strings.

Eighteenth-century German composers borrowed the term “Romance,” or Romanze, from their French contemporaries to denote a kind of simple but affecting song; eventually Haydn and Mozart used the label not only for vocal works but also for some lyrical slow movements in their larger works. In each of the movements they labeled thus, melodic invention and lyrical feeling dominate. “Romance,” however, was not a name used for individual character pieces until the nineteenth century.

Beethoven studied the violin when he lived in Bonn, and even played viola in an orchestra there before he moved to Vienna in 1792. Thus it is not surprising that he displayed an interest in writing for the violin early on in his career, and that he wrote two Romances— No. 1 in G, Opus 40, and No. 2 in F, Opus 50. One way to approach his two charming single-movement Romances is to perceive them as way stations on his journey to the composition of his famous Violin Concerto, which he completed in 1806. These pieces, composed in sectional form, also require both technical fluency and elegant musician- ship from the violin soloist. Music historians know that they were both completed by 1802, when the composer’s brother negotiated their publication, but it is most likely that they were written in the years leading up to that. The Romance in F is presumed to have been composed first, although it is called No. 2 and has a later opus number than the other Romance. It was probably premiered shortly after it was completed, although facts about its early performance history are not available. The year of its publication was

opening night program notes 19 Program page for the first Boston Symphony performances of Beethoven’s F major Romance for violin and orchestra on January 14 and 15, 1898, with BSO concertmaster Timothée Adamowski under the direction of Emil Paur (BSO Archives)

20 the same year that Beethoven completed his Symphony No. 2 and his Heiligenstadt Testament, in which he revealed his despair about his increasing deafness.

Marion M. Scott, an English biographer of Beethoven, writes of the Romances, “They are beautiful in their way, not easy as to technique, and very difficult to interpret satisfactorily.” The famous 19th-century violinist Joseph Joachim was known to have valued the Romance in F highly and counted the original manuscript for the work, which he received as a gift from an admirer, as one of his most prized possessions.

No one knows just why Beethoven composed his Romances. Some historians speculate that one or the other may have been originally intended as the slow central movement for a fragmentary C major violin concerto that he had begun earlier; but some ponder that if that were true, why would he have created two Romances in different keys? In any event, the two Romances share a similarity in form as well as in mood, both being com- pletely lyrical in spirit.

Susan Halpern susan halpern writes program notes for venues including Carnegie Hall and the Kimmel Center in , as well as for many series and orchestras throughout the country.

THEEARLIESTBOSTONSYMPHONYORCHESTRAPERFORMANCES of either Beethoven Romance were of the Romance No. 2 in F, Opus 50: in January 1898 with Emil Paur conducting and then BSO concertmaster Timothée Adamowski as soloist, followed that February by a performance in Brooklyn; and a single December 1904 performance in Philadelphia with soloist Eugène Ysaÿe under the direction of Wilhelm Gericke. It then wasn’t until July 1965 at Tanglewood that either Romance was programmed by the BSO: with Erich Leinsdorf conducting, Isaac Stern performed the F major Romance that July 18 and the Romance No. 1 in G, Opus 40, that July 24. Klaus Tennstedt led both Romances with then concertmaster Joseph Silverstein as part of an all-Beethoven concert at Tanglewood on July 28, 1978 (the program in fact being the same as tonight’s, the two Romances being followed by the Symphony No. 7); and Itzhak Perlman doubled as soloist and conductor on two occasions for Tanglewood performances of the two Romances paired in a single concert, on August 19, 2000, and August 27, 2011. The only other BSO performances, also at Tanglewood, were of the Romance No. 2 in F: with soloist Daniel Hope and conductor Jens Georg Bachmann on July 22, 2007, and soloist Joshua Bell and conductor Susanna Mälkki on August 21, 2010. Tonight’s performance of the G major Romance is the first to be played by the BSO at Symphony Hall.

opening night program notes 21

Ludwig van Beethoven Symphony No. 7 in A, Opus 92

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. He began his Symphony No. 7 in the fall of 1811, completed it on April 13, 1812, and led the first performance on December 8, 1813, in the auditorium of the Univer- sity of Vienna. THE SYMPHONY IS SCORED for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings.

By 1812 much had changed in Beethoven’s life and career since the extraordinary peri- od between 1802 and 1809, when he produced a flood of masterpieces perhaps unprecedented in the history of music. In 1809, however, around the time of the pre- miere of the Fifth and Sixth symphonies, this stupendous level of production abruptly fell off. Though there was much extraordinary music to come, Beethoven never again composed with the kind of fury he possessed in the first decade of the century.

What happened? Beethoven was increasingly ill and his bad hearing getting worse. However, given his ability to transcend physical misery, it is more likely that his decline in production came from expressive quandaries. He had begun to sense that the train of ideas that had sustained him through the previous decade was close to being played out. He had to find something new.

It is in the Seventh and Eighth symphonies that we see the turn toward the third period taking shape. In the Seventh Beethoven put aside for good the heroic model of the Third and Fifth symphonies, but he had not yet arrived at the inward music of the late works.

If not heroic or sublime, then what for the Seventh? A kind of Bacchic trance, dance

Portrait by Blasius Höfel after Louis Letronne, 1814

opening night program notes 23 Program page for the first Boston Symphony performance of Beethoven’s Symphony No. 7 on February 4, 1882, during the orchestra’s inaugural season with Georg Henschel conducting (BSO Archives)

24 music from beginning to end. Wagner called it “the apotheosis of the dance.” But the Seventh dances unlike any symphony before: it dances wildly and relentlessly, dances almost heroically, dances in obsessive rhythms whether fast or slow. Noth- ing as decorous as a minuet here; it’s rather shouting horns and skirling strings (skirling being what bagpipes do).

The symphony’s expansive and grandiose introduction strikes a note at once appro- priate and misleading: the fast dance that eventually starts out from it seems something of a surprise. But from the introduction’s slow-striding opening theme many other melodies will flow. Above all the introduction defines the symphony in its harmonies: wandering without being restless so much as brash and audacious, with a tendency to leap nimbly from key to key by nudging the bass up or down a notch. And the introduction defines key relationships to be thumbprints of late Beethoven: around the central key of A major he groups F major and C major, keys a third up and a third down. That group of keys will persist through the symphony, just as D and B-flat persist in the Ninth.

With a coy transition from the introduction, we’re off into the first-movement Vivace, quietly at first but with rapidly mounting intensity. The movement is a titanic gigue. Its dominant dotted rhythmic figure is as relentless as the Fifth Symphony’s famous figure, but here the effect is mesmerizing rather than fateful. Rhythm plays a more central role than melody here, though there is a pretty folk tune in residence. More,

opening night program notes 25 A pencil drawing of Beethoven by Ludwig Schnorr von Carolsfeld, c.1810

though, the music is engaged in quick changes of key in startling directions, every- thing propelled by the rhythm. From the first time you hear the symphony’s outer movements, meanwhile, you never forget the lusty and rollicking horns.

Nor are you likely to forget the first time you hear the stately and mournful dance of the second movement, in A minor. It has been an abiding hit and an object of near-obsession since its first performances. The idea is a process of intensification, adding layer on layer to the inexorably marching chords (with their poignant chro- maticism that Germans call moll-Dur, minor-major). Once again, in a slowish movement now, the music is animated by an irresistible rhythmic momentum. For contrast comes a sweet, harmonically stable B section in A major (plus C, a third up). Rondo-like, the opening theme returns twice, lightened, turned into a fugue, the last time serving as coda.

The scherzo is racing, eruptive, giddy, its main theme beginning in F major and ending up a third in A, from one flat to three sharps in a flash. We’re back to brash shifts of key animated by relentless rhythm. The Trio provides maximum contrast, slowing to a kind of majestic dance tableau, as frozen in harmony and gesture as a painting of a ball. The Trio returns twice and jokingly feints at a third time before Beethoven slams the door.

The purpose of the finale seems to be, amazingly, to ratchet the energy higher than it has yet been. If earlier we have had exuberance, brilliance, stateliness, those moods of dance, now we have something on the edge of delirium, in the best and most intoxicating way: stamping and whirling two-beat fiddling, with the horns in high spirits again. Does any other symphonic movement sweep you off your feet

26 and take your breath away so nearly literally as this one?

The Seventh was premiered in December 1813 as part of the ceremonies around the Congress of Vienna, when the aristocracy of Europe gathered with the inten- tion of turning back the clock to before Napoleon. Beethoven would despise the reactionary results of the Congress, but that was in the future; he was glad to receive its applause. The premiere of the Seventh under his baton was one of the triumphant moments of his life. For the first of many times, the slow movement had to be encored. The orchestra was fiery and inspired, suppressing their giggles at the composer’s antics on the podium. In loud sections (the only ones he could hear) Beethoven launched himself into the air, arms windmilling as if he were try- ing to fly; in quiet passages he all but crept under the music stand. The paper reported from the audience “a general pleasure that rose to ecstasy.”

It’s true that another piece premiered on the program, Beethoven’s trashy and opportunistic Wellington’s Victory, got more applause and in the next years more performances. But for the moment he was not too proud to bask a little, pocket the handsome proceeds, perhaps to enjoy with a sardonic laugh the splendid success of the bad piece and the merely bright prospects of the good one. The Seventh after all celebrates the dance, which lives in the ecstatic and heedless moment.

Jan Swafford jan swafford is an award-winning composer and author whose books include biographies of and Charles Ives, and “The Vintage Guide to .” An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at The Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin.

the first american performance of Beethoven’s Symphony No. 7 was given by with the New York Philharmonic Society on November 18, 1843. The symphony reached Boston a week later, on November 25, 1843, when Henry Schmidt conducted the Academy of Music at the Odeon. the first boston symphony performance of Beethoven’s Seventh Symphony was given by Georg Henschel on February 4, 1882, during the orchestra’s first season, subsequent BSO per- formances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Henri Rabaud, Serge Koussevitzky, Richard Burgin, , Charles Munch, Erich Leinsdorf, , Antál Dorati, William Steinberg, , Eugen Jochum, Edo de Waart, , Seiji Ozawa, Joseph Silverstein, Klaus Tennstedt, , Stanislaw Skrowaczewski, , Stuart Challender, Roger Norrington, Robert Spano, Christoph Eschenbach, Bernard Haitink, James DePreist, , Rafael Frühbeck de Burgos, David Robertson, Jens Georg Bachmann, , James Levine (including the most recent subscription performance, in February 2010), , and Bramwell Tovey (the most recent Tanglewood performance, on August 17, 2012).

opening night program notes 27 To Read and Hear More...

Edmund Morris’s Beethoven: The Universal Composer is a thoughtful, first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). The important full-scale modern biographies, both titled simply Beethoven, are by Maynard Solomon (Schirmer paperback) and Barry Cooper (Oxford University Press, in the “Master Musicians” series). Noteworthy, too, are Jan Swafford’s chapter on Beetho- ven in The Vintage Guide to Classical Music (Vintage paperback); Richard Osborne’s chapter on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback); and Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood (Norton paperback). The Beethoven Compendium: A Guide to Beethoven’s Life and Music, edited by Barry Cooper (Thames & Hudson paperback), and Peter Clive’s Beethoven and his World: A Biographical Dictionary, which includes entries on just about anyone you can think of who figured in the composer’s life (Oxford), are particularly useful references. Dating from the nineteenth century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Michael Steinberg’s program notes on all nine Beethoven symphonies are in his compilation vol- ume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the symphonies are among his Essays in Musical Analysis (Oxford). Among much older books, still worth investigating are George Grove’s classic Beethoven and his Nine

28 Symphonies, now more than a century old (Dover paperback), and J.W.N. Sullivan’s Beethoven: His Spiritual Development, published in 1927, but still fascinating and thought- provoking not only as a product of its time but for what’s relevant to our own (Vintage paperback).

Itzhak Perlman recorded Beethoven’s two Romances for violin and orchestra with and the Berlin Philharmonic (EMI). Other violinists to have recorded the Romances include with and the Chamber Orchestra of Europe (Elatus), Anne-Sophie Mutter with Kurt Masur and the New York Philhar- monic (Deutsche Grammophon), with the Orpheus Chamber Orchestra (Deutsche Grammophon), and Christian Tetzlaff with David Zinman and the Tonhalle Orchestra of Zurich (Arte Nova). Inquisitive listeners may want to investigate cellist Daniel Müller-Schott’s recordings (on ) with Richard Tognetti and the Australian Chamber Orchestra (Orfeo).

The Boston Symphony Orchestra recorded the complete cycle of Beethoven symphonies with Erich Leinsdorf between 1962 and 1969; the recording of the Seventh is from 1966 (RCA). The finale of the Beethoven Seventh figured in the BSO’s very first recording sessions, under Karl Muck in 1917 (reissued on BSO Classics). Charles Munch recorded Beethoven’s Seventh with the BSO for RCA in 1949 (his first recording as BSO music director). Leonard Bernstein’s BSO performance from the very last concert he ever conducted in August 1990 at Tanglewood, was issued on CD not long after (Deutsche Grammophon). In addition, a 1970 BSO telecast from Symphony Hall with William Steinberg conducting has recently been issued on DVD (ICA Classics). Noteworthy Beethoven symphony cycles of varying vintage include (listed alphabetically by conduc- tor) ’s with the Berlin Philharmonic (Deutsche Grammophon), ’s with the period-instrument Orchestre Révolutionaire et Romantique (Deutsche Grammophon Archiv), Nikolaus Harnoncourt’s with the Chamber Orchestra of Europe (Teldec), ’s with the Berlin Philharmonic (Deutsche Grammophon, particularly their cycle issued originally in 1963), Christian Thielemann’s with the (Sony), and Osmo Vänskä’s with the Minnesota Orchestra (BIS). Single- issue recordings of the Seventh include (among many others) James Levine’s live with the Munich Philharmonic (Oehms Classics), ’s with the Vienna Philharmonic (Deutsche Grammophon), and Gustavo Dudamel’s with the Simón Bolívar Youth Orches- tra of (Deutsche Grammophon). For historically minded collectors, much older recordings include studio-recorded and live concert performances led by Wilhelm Furtwängler, , and Guido Cantelli.

Marc Mandel

opening night read and hear more 29 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 Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving, at 617-638-9269 or [email protected].

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

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

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

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

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

‡ Deceased

opening night the great benefactors 31 BSO Season Sponsors 2012–13 Season

As one of the world’s largest financial institutions and a major supporter of arts and culture, Bank of America has a vested interest and plays a meaningful role in the international dialogue on cultural understanding. As a global company, Bank of America demonstrates its commitment to the arts by supporting such efforts as after-school arts programs, pro- grams to conserve artistic heritage as well as a campaign to encourage museum attendance. Bank of America offers customers free access to Bob Gallery more than 150 of the nation’s finest cultural institutions through its Massachusetts President, acclaimed Museums on Us® program, while Art in our Communities® Bank of America shares exhibits from the company’s corporate collection with communi- ties across the globe through local museum partners. Bank of America also provides philanthropic support to museums, theaters and other arts-related nonprofits to expand their services and offerings to schools and communities. Bank of America partners with more than 5,000 arts institutions worldwide.

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efficient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers.” said Joe Tucci, Chairman and CEO, EMC Corporation.

32 BSO Season Supporting Sponsors

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the official hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra Dawson Rutter and Boston Pops. The BSO has delighted and enriched the Boston com- President and CEO munity 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.

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

opening night bso season sponsors and season supporting sponsors 33

Administration

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

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

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

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

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

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

opening night administration 35 development

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

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

education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

facilities C. Mark Cataudella, Director of Facilities

symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk

maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

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

human resources

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

36 information technology Timothy James, Director of Information Technology

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

Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager publications Marc Mandel, Director of Program Publications

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

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

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

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

opening night administration 37

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

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

opening night administration 39

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

Thursday ‘C’ September 27, 8-11 Thursday ‘A’ October 4, 8-10:05 Underscore Friday September 28, 8-11 Friday ‘A’ October 5, 1:30-3:35 (includes comments from the stage) Saturday ‘A’ October 6, 8-10:05 Saturday ‘A’ September 29, 8-11 MARCELOLEHNINGER, conductor BRAMWELLTOVEY, conductor JOSHUABELL, violin ALFREDWALKER, bass-baritone (Porgy) TCHAIKOVSKY Romeo and Juliet, Fantasy- LAQUITA MITCHELL, soprano (Bess) after Shakespeare ALISONBUCHANAN, soprano (Lily, Strawberry BERNSTEIN Serenade (after Plato’s Woman) Symposium), for violin and ANGELBLUE, soprano (Clara) orchestra MARQUITA LISTER, soprano (Serena) DVORÁKˇ Symphony No. 8 KRYSTYSWANN, mezzo-soprano (Annie) GWENDOLYN BROWN, contralto (Maria) CALVIN LEE, tenor (Mingo, Nelson, Crab Man) Tuesday ‘C’ October 9, 8-10 JERMAINESMITH, tenor (Sporting Life) MARCELOLEHNINGER, conductor CHAUNCEYPACKER, tenor (Peter) HAWTHORNESTRINGQUARTET GREGGBAKER, baritone (Crown) PATRICK BLACKWELL, baritone (Jim, Undertaker) TCHAIKOVSKY Romeo and Juliet JOHN FULTON, baritone (Robbins) SCHULHOFF Concerto for String Quartet and Wind Orchestra ROBERTHONEYSUCKER, baritone (Frazier) DVORÁKˇ Symphony No. 8 LEONWILLIAMS, baritone (Jake) TANGLEWOOD FESTIVAL CHORUS, JOHNOLIVER, conductor Thursday ‘D’ October 11, 8-10:10 GERSHWIN Porgy and Bess (concert Friday ‘B’ October 12, 1:30-3:40 performance) Saturday ‘B’ October 13, 8-1010 VLADIMIRJUROWSKI, conductor ARABELLASTEINBACHER, violin MENDELSSOHN Violin Concerto SHOSTAKOVICH Symphony No. 4

Programs and artists subject to change.

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

opening night coming concerts 41 Symphony Hall Exit Plan

42 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

opening night symphony hall information 43 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, 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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