2004-2005 SEASON
BOSTON SYM PHONY ORCHESTRA JAMES LEVINE
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JAMES LEVINE MUSIC DIRECTOR
BERNARD HAITINK CONDUCTOR EMERITUS
SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails.
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Affiliated Re with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center | Official Hospital of the Boston ^^^^^^^^^^^1 James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005
Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman
John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer
Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Donna Riccardi, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-officio James F. Cleary
Life Trustees Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read
David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith
J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman Ray Stata
Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick Mrs. Robert B. Newman John L. Thorndike
Jane C. Bradley Dean W. Freed William J. Poorvu Dr. Nicholas T. Zervas Helene R. Cahners Avram J. Goldberg Irving W Rabb 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. Diddy Cullinane, Chair
Helaine B. Allen George M. Elvin Robert J. Lepofsky Carol Reich
Joel B. Alvord John P. Eustis II Christopher J. Lindop Alan Rottenberg Marjorie Arons-Barron Pamela D. Everhart Shari Loessberg Joseph D. Roxe Diane M. Austin Judith Moss Feingold Edwin N. London Michael Ruettgers Lucille M. Batal Lawrence K. Fish Jay Marks Kenan Sahin
Maureen Scannell Myrna H. Freedman Jeffrey E. Marshall Arthur I. Segel Bateman Dr. Arthur Gelb Carmine Martignetti Ross E. Sherbrooke Milton Benjamin Stephanie Gertz Joseph B. Martin, M.D. Gilda Slifka
George W. Berry Jack Gill Robert J. Mayer, M.D. Christopher Smallhorn James L. Bildner Robert P. Gittens Thomas McCann Charles A. Stakeley Bradley Bloom Paula Groves Joseph C. McNay Jacquelynne M. Alan Bressler Michael Halperson Albert Merck Stepanian
Michelle Courton Brown Ellen T Harris Dr. Martin C. Mihm, Jr. Patricia L. Tambone William Burgin Virginia S. Harris Robert Mnookin Wilmer Thomas Rena F Clark Deborah M. Hauser Paul M. Montrone Samuel Thorne
Carol Feinberg Cohen Carol Henderson Robert J. Morrissey Diana Osgood Mrs. James C. Collias Richard Higginbotham Robert T O'Connell Tottenham Charles L. Cooney Phyllis S. Hubbard Norio Ohga Loet A. Velmans Ranny Cooper Roger Hunt Louis F. Orsatti Paul M. Verrochi Martha H.W. William W Hunt Joseph Patton Matthew Walker Crowninshield Ernest Jacquet Ann M. Philbin Larry Weber Cynthia Curme Charles H. Jenkins, Jr. May H. Pierce Robert S. Weil James C. Curvey Michael Joyce Joyce L. Plotkin David C. Weinstein Tamara P. Davis Martin S. Kaplan Dr. John Thomas James Westra Mrs. Miguel de Stephen Kay Potts, Jr. Mrs. Joan D. Wheeler Braganga Cleve L. Killingsworth Dr. Tina Young Reginald H. White Disque Deane Douglas A. Kingsley Poussaint Richard Wurtman, M.D.
Betsy P. Demirjian Robert Kleinberg Millard H. Pryor, Jr. Dr. Michael Zinner
Paul F. Deninger Dr. Arthur R. Kravitz Patrick J. Purcell D. Brooks Zug Alan Dynner BMHHN
Overseers Emeriti
Caroline Dwight Bain Mrs. James GarivaLtis Mrs. Gordon F. Robert E. Remis Sandra Bakalar Mrs. Kenneth J. Kingslej Mrs. Peter van S. Hire William M. Bulger Germeshausen Da\ id 1. Kosov skj John K\ Kodgers
Mrs. 1 o\ in H. Campbell Jordan Golding Robert K. Kraft Mrs. Jerome Rosenfeld Earle M. Chiles Mark H. Goldweitz Benjamin 11.1 ac) Roger \. Saunders Joan R Curhan Mrs. Haskell K. Mrs. William D. Larkin Lynda \nne Schubert Phyllis Curtin Gordon Hart 0. Leavitt Mrs. Carl Shapiro Susan D. Hall Jo Vnno Walton Frederick H. 1 . Scoti Singleton Dickinson John Hamill Lovejoy, Jr. Mrs. Mieho Spring Mrs. Hill Ph) His Dohanian Elichard D. Piano 11.1 .upean Mrs. Arthur I. Strang Goetz B. Eaton Glen H. Hiner Mrs. Charles P. Lyman Robert \. Wells Harriott Eckstein ManK n Brachman Mrs. Harry L. Marks Mrs. Thomas H.R
Edward Eskandarian 1 lotltnan C. Charles Marran Whitney
J. Richard Fennel! Lolajaffe Barbara Maze Margaret Williams- Peter H.B. H. Eugene Jones Hanae Mori DeCelles Frelinghuysen Mrs. S. Charles Kasdon Mrs. Hiroshi 11. Nishino Mrs. Donald B. Wilson
Mrs. Thomas Elichard 1 . Kaye John A. Perkins Mrs. John J. Wilson Galligan, Jr. Daphne Brooks Prout
Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Ursula Ehret-Dichter, Executive Vice-President/ Ann M. Philbin, President-Elect Tanglewood Olga rurcotte, Executive Vice-President/ Patricia \. Kavanagh, Secretary Administration W illiam A. Along. Treasurer Linda M. Sperandio, Executive Vice-President/ Judy Barr, dominating Chair Fundraising
W illiam S. Ballen, Tanglewood Audley H. Fuller. Membership Lisa A. Mafrici, Public Relations Melinda Brown, Resource Lillian Katz, Hall Services Leah Weisse, Symphony Shop Development James M. Labraieo. Special Staffing Jerry Dreher, Education and Projects Outreach
Table of Contents
BSO News 5 On Display at Symphony Hall 6 New to the BSO' .' 10 Don Quixote in Music, by Helen M. Greenwald 13 BSO Music Director James Levine 16 The Boston Symphony Orchestra 18 This Week's Boston Symphony Orchestra Program 21 Notes on the Program 23 Featured Artists 49 Future Programs 76 Symphony Hall Exit Plan 78 Symphony Hall Information 79
This week s Pre-Concert Talks are given by Harlow Robinson. Northeastern University.
Program copyright ^2005 Boston Symphony Orchestra. Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Luteh Adminihtration
Mark Vblpe, Managing Director Eunice and Julian Cohen Managing Directorship, fullyfunded in perpetuity Tony Beadle, Manager. Boston Pops Peter Miniohiello, Director ofDevelopment Anthony Fogg, Artistic Administrator Kirn Noltemy, Director cfSales and Marketing Marion Gardner-Saxe, Director ofHuman Resources Caroline Taylor, Senior Advisor to the
Ellen Highstein. Director <>f Tonglewood Music Center Managing Director Thomas \). May, Chief Flnan/:isd Offaer Ray F. WeJlbaurn, Orchestra Manager
ADMINISTRATIVE STAFF/ARTTS1 IC
Bridget P. Carr, Archivist-Position endowed by Caroline Dwighi Bam • Karen Leopardi, drtu* Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager ofBoard Administration • Alexander Steinbeis, Assistant Artistic Administrator ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • rl.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson. Stage Technician • Anna Stowe, Assistant Chorus Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator
BOSTON POPS Dennis Alves, Director cfArtistic Programming Sana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artlstl/; Coordinator
BUSINESS OFFICE
Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller
Lamees Al-Noman, C'as/i Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, Staff Accountant • Michelle Creen, Executive Assistant to the ChiefFinancial Offuxr • Minnie Kvvon, Payroll Assistant • Y. Ceorges Minyayluk, Seni/jr Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Andrew Swartz, Budget Assistant • Teresa Wang, StaffAccountant DEVELOPMENT Rebecca R. Crawford, Director cfDevelopment Communications Sally Dale., Director ofStewardship and Development Administration Alexandra Fuchs, Director of Annual Funds Jo Frances Kaplan, Director of Institutional Giving Robert Meya, Acting Director of Major and Planned (giving Mia Schultz, Director of Development Operations
Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant Uj the Director cfDevelopment • Claire Carr, Administrative Assistant, Corporate Programs • Diane Cataudella, Associ- ate Director of Stewardship • Amy Concannon, Annual Fun/i Committee Coordinator • Joanna N. Drake, Assistant Manager, Annual Fund Events • Stacey Elwood, Special Events Manager • Sarah Fitzgerald, Manager cf Gift Processing and Donsjr Records • Barbara Hanson, Manager. Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Allison Howe, Gift Processing and Donor Records Coordinator • Justin Kelly, Assistant Manager of Gift Processing and Don/jr Records • Brian Kem, Senior Major Gifts Officer • Katherine M. Krupanski, Assistant Manager, Hlgginson and Fiedler Societies • Mary MacFar- lane, Manager, Friends Membership • Tanya Melanson, Development Communications Project Manager • Susan Olson, Stewardship} Coordinator • Cristina Perdoni, £i/f Processing and Donor Records Coordina- tor • Gerrit Petersen, Director of Foundation Support • Jennifer Raymond, Associate Director, Friends Membership • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, As.s£sto/U Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Founda- tion an/1 Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Gabriel Cobas, Manager of Education Programs • Elisabeth Alleyne Dorsey, Curriculum Specialist/ Library Assistant • Leslie Wu Foley, Associate Director ofEducation and Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Darlene White, Manager, Berkshire Education and Community Programs • Leah Wilson-Velasco, Education and Community Programs Assistant EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services
Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology
Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network Administrator • Brian Van Sickle, User Support Administrator PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations
Meryl Atlas, Media Relations Assistant • Kelly Davis Isenor, Media Relations Associate Sean J. Kerrigan, Associate Director of Media Relations • Amy Rowen, Media Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor
SALES, SUBSCRIPTION, AND MARKETING
Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses * Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Subscription Representative • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Web Content Editor • Lee Paradis, Assistant Manager, Symphony Shop • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinator for Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships
Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager
Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services * Catherine Lawlor, Administrative Assistant • John MacMinn, Manager of Hall Facilities • Shawn Wilder, Mailroom Clerk
House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Christopher Bartlett • Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, Coordinator • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Paula Ramsdell, Project Coordinator
1 IKI^M BSO New Starting Time for Evening Pre-Concert Talks
Please note that, in order to allow the musicians more time to warm up on stage prior to the concerts, the BSO's evening Pre-Concert Talks will now begin at 6:45 rather than 7 p.m. The starting time for the Friday-afternoon talks (12:15 p.m.) and for the Open Re- hearsal Talks (9:30 a.m. on Thursday mornings; 6:30 p.m. on Wednesday evenings) re- mains unchanged. The remaining Sunday-afternoon talk, on March 13, will begin at 1:45 p.m. prior to that day's 3 p.m. Boston Symphony concert. We appreciate your understand- ing in this matter. Given by a variety of distinguished speakers from Boston's musical community, these informative half-hour talks include taped examples from the music being performed. This week, Harlow Robinson of Northeastern University discusses Ullmann and Shostakovich. In the weeks ahead, BSO Publications Associate Robert Kirzinger discusses Gandolfi,
Bartok, and Mussorgsky (January 27-February 1), Jan Swafford of Tufts University dis- cusses Brahms (February 3-8), and Elizabeth Seitz of the Boston Conservatory of Music discusses Falla and Strauss (February 10-12).
BSO Archival Telecasts Released on DVD Through Video Artists International
The Boston Symphony Orchestra, Video Artists International (VAI), and WGBH-TV in Boston have announced a worldwide distribution agreement for DVD releases of telecasts from the BSO Archives featuring the BSO led by a distinguished roster of conductors. The initial releases included Charles Munch conducting Berlioz's UEnfance du Christ with soloists Donald Gramm, Florence Kopleff, John McCollum, and Theodore Uppman, a performance simulcast on radio and television by WGBH-FM/TV on December 13, 1966, from Symphony Hall; and Sir John Barbirolli conducting An Elizabethan Suite arranged by Barbirolli from the Fitzwilliam Virginal Book, the intermezzo "A Walk to the Paradise Garden" from Delius's opera A Village Romeo and Juliet, Walton's Partita for Orchestra, and Brahms's Symphony No. 2, a concert telecast from Sanders Theatre at Harvard University on February 3, 1959. Two more DVDs are scheduled for release this month: an all-French compilation program from 1959-62 with Charles Munch leading
Berlioz's Symphonie fantastique , Debussy's La Mer, and Ravel's Daphnis et Chloe Suite Symphony Shopping
Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue.
Hours: Tuesday through Friday, 11-4; y^u^iAo^i^yLiA^ Saturday from 12-6; from one hour BOSTON SYMPHONY OBCHESTR/ before each concert through intermission, and for up to thirty minutes after each BSO concert I
No. 2, all telecast from Sanders Theatre in Cambridge; and the BSO concert of January 20, 1959, also from Sanders Theatre, with Pierre Monteux conducting Brahms's Tragic Overture, Hindemith's Nobilissima Visione, and Stravinsky's Petrushka. The VAI/BSO Archival DVDs are available at the BSO's Symphony Shop and website, www.bso.org; directly from VAI through their direct mail catalogue or online at www.vaimusic.com; and through all major music and video outlets, including Tower Records, Virgin, Borders, Barnes & Noble, and Amazon.com.
The Gregory E. Bulger Foundation Foundation is underwriting this concert con- Concert, Saturday, January 22, 2005 ducted by James Conlon, one of Mr. Bulger's Gregory Bulger was formerly the Chief Exe- favorite guest conductors of the BSO and the cutive Officer of HealthCare Value Manage- Tanglewood Music Center Orchestra. ment, which he founded in 1990. HCVM is a The Gregory E. Bulger Foundation was managed care organization that operates the founded in 2002 and is making its third year largest Preferred Provider Organization in of grants in 2005. In previous years, the
New England. Mr. Bulger was also the first Foundation provided major underwriting for Executive Director of the Mattapan Com- two world premiere operas at Tanglewood, munity Health Center, and has served as the the return of Sir Colin Davis to Symphony President of the Massachusetts League of Hall in November 2003, and the Tanglewood Community Health Centers and as a Trustee on Parade concert in August 2004. Providing of Brigham and Women's Hospital. support to performing arts organizations in Mr. Bulger has been a subscriber to the the Greater Boston area is one of the major Boston Symphony Orchestra for over thirty goals of the Foundation. Mr. Bulger resides years. He is extremely pleased that his in Dover, MA.
On Display in Symphony Hall This season's BSO Archives exhibit in the Massachusetts Avenue corridor of Symphony Hall heralds the arrival of James Levine as the BSO's fourteenth music director—the first American-born conductor to hold that position. The appoint- ment by BSO founder-sustainer Henry Lee Higginson of Georg Henschel as the orchestra's first conductor established a precedent of hiring foreign-born and -trained conductors (preferably German or Austrian) for the BSO. The entry of the United States into World War I in 1918 ushered in a new era, one dominated by French and Russian conductors. Drawing on the Ar- chives' extensive collection of photographs, letters, and news clippings, the exhibit examines the lineage of BSO conductors culmi- nating with the appointment of James Levine in 2001. The photo at left shows James Levine re- hearsing with the Cleveland Orchestra, ca.1968 (photo by Peter Hastings, courtesy Cleveland Orchestra Archives). The photo at right shows Mr. Levine rehearsing with the BSO at Tanglewood in July 1972 (Whitestone Photo). There are also two new exhibits in the Cohen Wing display cases. The first examines the history of Symphony Hall's great Aeolian-Skinner organ with an emphasis on the extensive renovation work that was recently completed. The sec- ond highlights the BSO's touring history, focusing on the BSO's role as cultural
ambassador through the many international tours it has made since its first Euro- pean tour in 1952. The Nathan R. Miller Family Concert bonist Norman Bolter, Eric Ewazen, Hannes Tuesday, January 25, 2005 Meyer, Alfred Hornoff, and Corrado Saglietti. Mr. Barron is joined by a number of his brass The performance of January 25, 2005, by the and string player colleagues from the BSO, Boston Symphony Orchestra is supported by and also by the Harvard University Wind a generous gift from the Nathan R. Miller Ensemble, Thomas Everett, conductor; pian- Family. The BSO greatly appreciates their ists Eric Ewazen and Vytas Baksys, and or- generous support. Mr. Miller became a Trus- ganist Peter Sykes. On the second disc, "An tee of the BSO in 2003, having served as an Evening from the 18th Century," he is joined Overseer since 1988. As a Great Benefactor, by BSO principal horn James Sommerville, Mr. Miller is a long-standing supporter of alto trombonist Darren Acosta, and The New the BSO and is well known for his gift of the 18th Century Players (made up primarily of Miller Room at Symphony Hall. BSO members) led by Alain Trudel for music Nathan and his wife Lillian, who attended of Tommaso Albinoni, Georg Christoph Wag- the New England Conservatory of Music, have enseil, Johann Georg Albrechtsberger, and a very strong commitment to music and the Johann Michael Haydn. For more informa- universal joy it brings. In 1985, the Millers' tion, visit www.trombonebarron.com. regard for then BSO Music Director Seiji Ozawa prompted them to establish the Seiji Ozawa Endowed Conducting Fellowship at BSO Members in Concert the Tanglewood Music Center. They also en- The Boston Artists Ensemble directed by dowed the Lillian and Nathan R. Miller Chair BSO cellist Jonathan Miller performs string in the cello section of the BSO in 1987, and quintets of Mozart and Dvorak and a "mys- have named seats in Symphony Hall. tery piece" for string trio on Friday, January The Nathan R. Miller family continues to 21, at 8 p.m. at the Peabody-Essex Museum be among the BSO's most generous philan- in Salem. Joining Mr. Miller for these per- thropists, and we warmly thank them for formances are BSO violinists Victor Romanul their support. and Tatiana Dimitriades and BSO violists Edward Gazouleas and Kazuko Matsusaka. BSO Members on Compact Disc Tickets are $24, with discounts for students A wide variety of compact discs featuring and seniors. For more information visit members of the Boston Symphony Orchestra www.BostonArtistsEnsemble.org or call are available in the Symphony Shop, includ- (617) 964-6553. ing the following new entries to the catalogue. BSO principal second violinist Haldan BSO violist Michael Zaretsky's latest CD Martinson is featured in Goldmark's Violin on the Artona label features him in the six Concerto with the Wellesley Symphony Or- cellos suites of J.S. Bach performed on viola, chestra led by former BSO assistant concert- as recorded in Symphony Hall in January/ master Max Hobart on Sunday, February 6, February 2004. Mr. Zaretsky uses the earli- at 3 p.m. at Mass Bay Community College, est authentic source for these works, the fac- 20 Oakland Street, in Wellesley. Also on the simile manuscript text of Anna Magdalena program is Franck's D minor Symphony. Tick- Bach. For more information about this disc, ets are $18, $15, and $5, available at the and about Mr. Zaretsky's previous compact door. For further information call (781) 235- discs, visit www.michaelzaretsky.net. 3584 or visit www.wellesleysymphony.org. BSO principal trombone Ronald Barron Ronald Knudsen leads the New Philhar- has released two new compact discs in the monia Orchestra in Mendelssohn's FingaVs
Boston Brass Series. The first, entitled "The Cave Overture, Shostakovich's Hamlet Film Return of the Alto," features solo and ensem- Suite, and Brahms's Symphony No. 3 on ble music for alto trombone by Leopold Moz- Saturday, February 12, at 8 p.m. at Babson art, Marc-Antoine Charpentier, BSO trom- College in Wellesley and on Sunday, Febru-
Individual tickets are on sale for all concerts in the BSO's 2004-2005 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 79 of this program book. HKaffiH m ^H
SPECIAL FAMILY CONCERT FEBRUARY 12, 2005 @ nOOM
Rafael Fruhbeck de Burgos, conductor Awet Andemicael, soprano (The Boy) Peter Bronder, tenor (Master Peter) Jonathan Lemalu, baritone (Don Quixote) Bob Brown Puppets
FALLA "Master Peter's Puppet Show"
FaUa's Master Peter's Puppet Show \s based on an incident from "Don Quixote" in which the Knight of the Woeful Countenence and Sancho Panza happen
upon a puppet show in a small village. The show's audience is represented by large puppets, while smaller puppets enact the actual puppet show.
Saturday april 9, 2005 @ io:ooam and noon BRUCE HANGEN, CONDUCTOR "Symphony SCORES"
It doesn't have to be a symphony to be symphonic!
Composers write great orchestral music for all kinds of non- symphony art forms, including ballet, opera, and film. The Boston Symphony has a strong tradition of presenting the "other" side of symphonic music. For this concert series we will feature the music of great composers, including John Williams, whose music was not originally intended for performance on the concert stage.
Tickets on sale now: $18 -* Call (617) 266-1200, or visit www.bso.org. Family concerts are designed for children ages 5 and up.
UBS is proud to support the BSO Youth and Family Concerts. ary 13, at 3 p.m. at the First Baptist Church public and selected "behind-the-scenes" in Newton. Single tickets are $25, with dis- areas of the building. Free walk-up tours counts for seniors, students, and families. lasting approximately one hour take place on For more information call (617) 527-9717 the first Saturday of each month at 1:30 p.m. or visit www.newphil.org. Earlier that month, and every Wednesday at 4:30 p.m. All tours on Sunday, February 6, at 2 p.m. at Babson begin in the Massachusetts Avenue lobby of College, the New Philharmonia offers "Cele- Symphony Hall, where the guide meets par- brate Words and Music," its second "Family ticipants for entrance to the building. No Discovery" concert of the season, in which reservations are necessary. In addition, group young actors will help introduce children tours—free for New England school and to music through use of images and poetry. community groups, or at a minimal charge Single tickets for this event are $14, with for tours arranged through commercial tour discounts for seniors, students, and families. operators—can be arranged in advance (the BSO's schedule permitting) by contacting the Attention, Friday-afternoon BSAV Office at (617) 638-9391 or by e-mail- Subscribers: Bus Service to ing [email protected]. Symphony Hall
In Cj of Si If you're tired of fighting traffic and search-
ing for a parking space when you come to To find out the status of a Boston Symphony Friday-afternoon Boston Symphony concerts, concert and options available to you in case why not consider taking the bus from your of a snow emergency, BSO subscribers and community directly to Symphony Hall? patrons may call a special Symphony Hall Under the auspices of the Boston Symphony number. Just dial (617) 638-9495 at any Association of Volunteers, the following com- time for a recorded message regarding the munities sponsor round-trip bus service for current status of a concert. Please note, too, the Friday afternoon concerts for a nominal that ticket refunds will only be offered for fee: Beverly, Cape Cod, Concord, Marble- concerts that are cancelled. head/Swampscott, Wellesley, South Shore, and Weston in Massachusetts; Concord, Ticket Resale North Hampton, and Peterborough in New Hampshire; western New Hampshire; and Please remember that subscribers unable Rhode Island. Taking advantage of your to attend a particular BSO concert in their area's bus service not only helps to keep this series may call (617) 638-9426 up to one convenient service operating, but also pro- hour before the concert to make their tickets vides opportunities to spend more time with available for resale. This not only helps your Symphony friends, meet new people, bring needed revenue to the orchestra, it and conserve energy. In addition, many of also makes your seat available to someone the participating communities make a sub- who might otherwise be unable to attend the stantial contribution to the BSO from the concert. You will receive a mailed receipt proceeds. If you would like to start a service acknowledging your tax-deductible contri- from your community, or would like further bution within three weeks of your call. information about bus transportation to Fri- day-afternoon Boston Symphony concerts, Comings and Goings... please call the Volunteer Office at (617) 638- Please note that latecomers will be seated by 9390. the Patron Services staff during the first con- venient pause in the program. In addition, Symphony Hall Tours please also note that patrons who leave the The Boston Symphony Association of Volun- hall during the performance will not be teers offers tours of Symphony Hall throughout allowed to reenter until the next convenient the Symphony season. Experienced volunteer pause in the program, so as not to disturb the guides discuss the history and traditions of performers or other audience members while the BSO and its world-famous home, Sym- the concert is in progress. We thank you for phony Hall, as the group is escorted through your cooperation in these matters. M^HH^MH
New to the BSO
Three new players and two new assistant conductors have joined the BSO this season.
Elizabeth Rowe joined the Boston Symphony Orchestra as principal flute in September 2004. Formerly the assistant principal flute of the National Symphony Orchestra, she has also held positions with the Bal- timore Symphony, the Fort Wayne Philharmonic, and the New World Symphony. She has served on the faculties of the Peabody Institute of Music, the University of Maryland, and Catholic University. A native of Eugene, Oregon, Ms. Rowe received her bachelor of music degree in 1996 from the University of Southern California, where she studied with Jim Walker, former principal flute of the Los Angeles Philharmonic. Win- ner of first prize in the 2000 National Flute Association Young Artist Competition, she has performed as a soloist with orchestras throughout the country, including many of the orchestras with which she has held positions. Most recently she performed the Nielsen Flute Concerto with the Baltimore Symphony Orchestra. Ms. Rowe has participated in several national and international music festivals, most notably as a Fellow at the Tanglewood Music Center. An advocate of new music, she was invited to Carnegie Hall to perform a concert of works by Schoenberg under the direction of Pierre Boulez. Ms. Rowe enjoys chamber music and was a founding member of the southern Florida-based Metropolis Winds woodwind quintet.
Polina Sedukh joined the Boston Symphony Orchestra in September | 2004. Born in 1980 to a family of musicians in St. Petersburg, Russia,
Ms. Sedukh began studying violin at four, her first teachers being her father Grigory Sedukh and Savely Shalman. In 1987 she entered the Special Music School of the St. Petersburg Conservatory, joining the stu- dio of Lev Ivaschenko. She joined the studio of Vladimir Oftcharek in 1995 and entered the Rimsky-Korsakov State Conservatory in 1998. She has participated in master classes with Wolfgang Marschner and Sakhar Bron and in January 2000 began studying at the Longy School of Music in Cambridge with Laura Bossert and Malcolm Lowe. Ms. Sedukh gave her first major public performance at seven, with the Chamber Orchestra of Liepaya, Latvia; her first international performance was in 1991 in Chicago, followed by a tour in Germany. Winner of first prize in the solo category and the grand prize in chamber music at the 1992 Young Talents of Russia Festival, and a laureate of the Evgeny Mravinsky Festival in St. Petersburg, Russia, she has participated in important festivals on both sides of the Atlantic, has toured Germany and Aus- tria annually since 1993, and has won prizes in such international competitions as Coast of Hope in Bulgaria (grand prize as soloist and first prize in chamber duo), the International Spohr Competition in Weimar, Germany, and the Negev Competition in Israel (first prize). In 1999 she took the Barenreiter Special Prize in the Young Concert Artist International Audi- tions in Leipzig, Germany.
A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize at Tanglewood, first prize in the
. Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. An advocate of new music, he has premiered and recorded Menachem Wiesenberg's Cello Concerto with the ~*W ^k Israel Defense Force Orchestra and has worked with composers Elliott
^ I Carter, Gyorgy Kurtag, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni en- semble-in-residence that works on new pieces and collaborates with young composers. As a chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians from Marlboro tour, collab-
10 orating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kash- kashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he com- pleted his mandatory military service in Israel as a part of the "Distinguished Musician Pro- gram," playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in numerous outreach and educational concerts for soldiers and other audiences.
Jens Georg Bachmann is an assistant conductor of the BSO as of this season, having previously served as assistant conductor to James Levine at the Munich Philharmonic, a position created for him in 2000. He has been associate conductor of the Fort Worth Symphony Orchestra and principal conductor of the Texas Chamber Orchestra in Dallas, and has for three summers been assistant conductor of the UBS Verbier Festival Orchestra, preparing that ensemble for its annual appearances at the
Verbier Festival in Switzerland and also leading it in concerts at Verbier and on tour at EXPO 02. As an opera conductor, he has recently led per- formances at the Niirnberg State Opera, Diisseldorf Opera, the Komische Oper Berlin (where he made his professional opera debut at twenty-four), and the Berlin State Opera. He has also conducted numerous orchestras in Germany. A native of Berlin, Mr. Bachmann holds degrees in violin and conducting from the Hanns Eisler Musikhochschule in Berlin and the Juilliard School in New York, where he was recipient of the Bruno Walter Memorial Scholarship. Ad- ditional projects include a fundraising and educational outreach tour as violinist in South Africa, and an Interarts Project in the Clark Studio Theatre at New York's Lincoln Center, where he conceived and conducted a production of the Strauss/Moliere Le Bourgeois Gentil- homme combining dance and music. Mr. Bachmann is a 1996 winner of the Carl Maria von Weber Conducting Competition in Munich and of the 1998 Intercities Performing Arts Foun- dation/Enrico Caruso Competition. Mr. Bachmann resides in Boston.
An assistant conductor of the Boston Symphony Orchestra as of this sea- son, Ludovic Morlot has maintained a close working relationship with the BSO since he was the Seiji Ozawa Conducting Fellow in 2001 at the Tanglewood Music Center, when he assisted Mr. Ozawa with the TMC production of Ravel's UHeure espagnole and led the world premiere of the TMC's 2001 Fromm Commission, Robin de Raaff's Piano Concerto, in that summer's Festival of Contemporary Music. He has since served as a BSO cover conductor for, among others, Seiji Ozawa, James Levine, Andre Previn, and Rafael Friihbeck de Burgos, and has led the Boston Symphony Chamber Players in Boston and at Tanglewood. He has also worked with Reinbert de Leeuw and Michael Tilson Thomas at the New World Symphony in Florida, and assisted Jessye Norman at the Theatre du Chatelet in the critically acclaimed Paris production of Schoenberg's Erwartung and Poulenc's La Voix humaine. In 2002 he became conductor-in- residence with the Orchestre National de Lyon under David Robertson, leading many out- reach concerts and youth orchestra events in Lyon for two seasons. He has also appeared with the Orchestre de Picardie and the Orchestre Colonne in Paris. This season brings his debut with the Ensemble InterContemporain, and his subscription series debut in April 2005 with the Boston Symphony Orchestra. Trained as a violinist, Mr. Morlot studied conducting with the late Charles Bruck at the Pierre Monteux School in Hancock, Maine, and continued his studies at the Royal Academy of Music in London. He received the Norman Del Mar Con- ducting Fellowship from the Royal College of Music, London, to work with the Royal School's Opera under the guidance of John Carewe and as assistant conductor to Sir Colin Davis on their production of Don Giovanni. Mr. Morlot maintains residences in Lyon and Boston.
11 // Simply Stunning! //
The Boston Globe
BOSTON CHAMBER MUSIC SOCIETY Ronald Thomas, Artistic Director UPCOMING CONCERTS
Fridays at Jordan Hall I Sundays at Sanders Theatre I 7:30 p.m.
Feb 11 & 13 The Trout
Mozart Flute Quartet in A major, K. 298
with BSO and BCMS flutist Fenwick Smith
Respighi II Tramonto for Mezzo Soprano and Strings Shostakovich Seven Romances on Poems by A. Blok for Mezzo
Soprano and Piano Trio, Op. 1 27
featuring mezzo soprano Mary Nessinger
Schubert Piano Quintet in A major, D. 667 "The Trout"
with BSO Principal Bassist Edwin Barker
Mar is & 20 The Schumonn Quintet
Ravel Sonata for Violin and Cello
Robert Fuchs Clarinet Quintet in E-flat major, Op. 102
Schumann Piano Quintet in E-flat major, Op. 44
with pianist Randall Hodgkinson and violinist Arturo Delmoni
Intimacy. Excitement. Sheer Beauty bostonchambermusic.org 61 7.349.0086
12 Don Quixote in Music by Helen M. Greenwald
On Thursday, Friday, and Saturday, February 10, 11, and 12, the eminent Spanish con- ductor Rafael Fruhbeck de Burgos leads the BSO in a program of two works inspired by Cervantes' "Don Quixote de la Mancha"—Richard Strausss orchestral tone poem "Don Quixote""featuring cellist Steven Isserlis and BSO principal violist Steven Ansell, and the little-known "Master Peter's Puppet Show" of Manuel de Falla, to feature the Bob Brown Puppets, soprano Awet Andemicael as The Boy, tenor Peter Bronder as Master Peter, and baritone Jonathan Lemalu as Don Quixote. Tickets are available by phone, online, by mail, or in person at the Symphony Hall box office (see page 79 of this program book).
"I have decided that Don Quixote shall stay buried in the archives of La
Mancha till heaven provides someone to adorn him with all the jewels he lacks; for I find myself incapable of supplying them because of my inade-
quacy and scanty learning, and because I am too spiritless and lazy by
nature to go about looking for authors to say for me what I can say myself without them." —Miguel de Cervantes Saavedra, Prologue to The Adventures of Don Quixote, Part I (1604)
Cervantes, of course, had plenty to say—about a thousand pages worth in two parts, the first published in 1604 and the second in 1614, the year before he died. Little could he have imagined that by the end of the seventeenth century, Don Quixote would escape "the archives of La Mancha" only to reappear in dozens of musical retellings in myriad guises and many languages. It may even be fair to say that the world has come to know Quixote's earnest foolishness, imperfect humanity, capacity for romantic love, and numerous comical (and often bizarre) adventures as much through music as through Cervantes' prose. In this way, Don Quixote joins other figures born in literature, like Don Juan (also a 17th-century Spanish nobleman) and Faust, who have surpassed mere celebrity to achieve iconic status through their ability to communicate shared beliefs and experience while making a universal statement about the human condition.
The theater has been the principal transmitter of the novel's most familiar episodes, beginning with Carlo Sajon's 1680 Venetian opera, 77 Don Chisciot della Mancia. This was
followed almost immediately by J. P. Fortsch's opera Der irrende Ritter Don Quixotte (Ham- burg, 1690) and Thomas D'Urfey's play, Comi- cal History of Don Quixote (London, 1694), with incidental music by Henry Purcell. The images that have found a stable place in contemporary popular culture—Don Quixote battling with sheep, jousting with windmills, and declaiming rhapsodically about Dulcinea—were already celebrated in the eighteenth century in works such as Giovanni Paisiello's 1769 opera bujfa, Don Chisciotte. Many operas would follow, in- cluding those by Caldara (1727), by Salieri (1771), and even by Mozart's first Tamino, Bene- dict Schack (1785). 19th-century composers continued to write "Quixote" operas, although such efforts by Mendelssohn (1827) and Doni- Miguel de Cervantes Saavedra zetti (1833) are not especially well-known. Com- (1547-1616) posers would soon find other ways to stage Qui-
13 — —
xote. By the second half of the nineteenth century Offenbach would write a pantomime (1874) and de Koven an operetta (1889); and the century would close with a remark- able orchestral realization of the story in Richard Strauss's tone poem (1898). Diversity would become the rule: in the twentieth century, Korngold composed piano pieces (1908), Massenet an opera (1910), and Falla a musical puppet show (1923). A film was inevitable, and G.W. Pabst asked four composers Ibert, Milhaud, Delannoy, and Ravel—to submit music for his Adventures of Don Quixote, released in 1933 and made famous by its star, the renowned
Russian bass Fyodor Chaliapin. Ibert's music was eventually chosen for the film, while Ravel's Don Quichotte a Dulcinee, comprising the three songs written in response to Pabst's request, stands as his final work. Catalan composer Roberto Gerhard devoted years (1940-47) to Quixote through ballet, a chamber orchestra suite, a symphonic suite, and some incidental music for a radio play, reinterpreting Cervantes' doleful equestrian as the "Knight of the Hidden Images." And finally, not to be forgotten, there's the 1973 musical, Man of La Mancha, adapt- Richard Strauss ed from Cervantes by Dale Wasserman with lyrics (1864-1949) by Joe Darion and music by Mitch Leigh.
February 10-12, in a single program, the Boston Symphony Orchestra pairs two quite different musical portraits of the "Knight of the Doleful Countenance"—Richard Strauss's Don Quixote and the remarkable El retablo de Maese Pedro ("Master Peter's Puppet Show") of Manuel de Falla, the latter (in Falla's own words) an "Adaptacion musi- cal y escenica" (musical adaptation and staging) featuring singing and miming puppets and a lovely instrumental complement of winds, horns, strings, harpsichord, pedal-harp, and lots of percussion. Both works draw on different episodes from the novel, but their shared and more profound mission is to explore character, here one of exceptional emo- tional power.
Strauss called his orchestral tone poem "Fantastic variations on a theme of knightly character"; here the pairing of solo cello (representing the Don himself) and viola (the principal instrument representing Sancho Panza) suggests still further designations perhaps of "concertante" in the Mozartian sense, or even "double concerto" in the Brahmsian sense. Don Quixote is not a humorous work in the antic way of
Strauss's earlier Till Eulenspiegel. In fact, it original- ly took form as a "satyr play" to his semi-autobio- graphical tone poem Ein Heldenleben ("A Hero's Life"), which he was thinking about at the same time. Strauss felt rather strongly that Don Quixote could only be best understood "at the side of Heldenleben,'''' Manuet de talla and referred to it as a "battle of one theme against (lo/o-ly4o) nullity." His virtuoso score is tremendously theatrical and filled with cacophonous moments that depict the "madness" of the protagonist and the futility of his ill-conceived adventures. Despite such good intentions, however, it premiered to angry critical reception, including that of Boston critic J.F. Runciman, who declared, "If ever this kind of music becomes acceptable to the people at large, then may I not be here to see and hear."
14 Strauss might have had a good chuckle over that one, since he so thoroughly enjoyed the oddities of his own composition, even writing to his mother after the Hamburg per- formance of April 5, 1900, about how the "brilliant" horn players used empty beer bot- tles as mutes! Of course, the work is highly regarded today, and especially among cel- lists, for whom it has become a badge of honor, a proof of technical virtue. More than that, however, it demonstrates the performer's ability to communicate the pathos of Don Quixote and his tragic, yet bittersweet, demise.
Falla's El retablo de Maese Pedro is a unique contribution to what Falla scholar Carol Hess calls "Quijotismo." This extraordinary little gem is essentially a piece of chamber music in an exceptionally rich and theatrical musical cloak, a play within a play, where the spectators whom we observe view- ing the puppet show are themselves puppets! Moreover, as Falla notes in his score, "the fig- ure of Don Quixote should be at least twice as large [or much taller] than the others." And, delightfully, once the characters enter Master Peter's inn and are seated for the show, "the visible objects [should be] Don Quixote's legs. These, which are very long, and odd in appearance, can be seen throughout the play, either stretched out in front of him or lying one upon the other."
The show to be viewed by the puppets is "The Liberation of Melisendra," a tale from the time of Charlemagne that Cervantes ab- sorbed into Chapter 26 of Part II of his novel. Falla's narrator is a young boy, who, as Falla The Bob Brown Pu ets describes in his performance notes, must have PP a voice "which is nasal and rather forced—the voice of a boy shouting in the street, rough in expression and exempt from all lyrical feeling." El retablo de Maese Pedro in- cludes a Proclamation, a Sinfonia, numerous dance-like interludes, songs, and a num- ber of comical interruptions by Don Quixote, whose legs play a notable role. The sonority of the work is both ancient and modern; the harpsichord dominates, but the harmonies speak for the twentieth century without veiling the aura of antiquity. In the end, over- come by his chivalric sensibility, Quixote destroys the puppet theater, and waxes elo- quent in a vision of his beloved Dulcinea.
Helen M. Greenwald teaches at the New England Conservatory of Music, where she was Chair of the Department of Music History and Musicology from 2000 to 2003. Besides her publica- tions in scholarly journals, she has spoken to international audiences about Mozart, Verdi, Puccini, and Wagner. She has written notes for the Boston Symphony Orchestra, Lyric Opera of Chicago, New York City Opera, and the Maggio Musicale Fiorentino, and is currently co-editor of the critical edition of Rossini's opera Zelmira.
15 JAMES LEVINE With the 2004-2005 season, James Levine becomes Music Director of the Boston Symphony Orchestra. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's m founding in 1881, and the first American-born conduc- tor to hold that position. Mr. Levine opened his first sea- son as BSO Music Director in October with Mahler's Eighth Symphony, the first of a dozen programs in Boston,
I three of which—the Mahler Eighth, Berlioz's Romeo et Juliette, and a program of Harbison, Stravinsky, Wuorin-
I en, and Brahms—also go to Carnegie Hall in New York. I In addition, Mr. Levine appears at Symphony Hall as pianist with the Boston Symphony Chamber Players and in an all-Schubert four-hand recital with Evgeny Kissin (a program also to be played at Carnegie Hall) and will lead concerts at Tanglewood in July with both the Boston Symphony and the Tanglewood Music Center Orchestra. Maestro Levine made his Boston Symphony debut in April 1972, with a program including Mozart's Hajfner Symphony, Mendelssohn's Violin Concerto, and the Mussorgsky/Ravel Pictures at an Exhibition, and his Tanglewood debut that same summer, in music of Mozart and the Tanglewood premiere of Mahler's Symphony No. 6. He has since conducted the orchestra in repertoire ranging from Haydn, Mozart, Schu- mann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of John Cage, Elliott Carter, John Harbison, Gyorgy Ligeti, Roger Sessions, and Charles Wuorinen. In addition to such classic works as Mozart's Prague, Beethoven's Eroica, and Schubert's Great C major sym- phonies, his programs this season include concert performances of Wagner's Derfliegende Hollander, 20th-century masterpieces by Bartok, Carter, Ives, Messiaen, Schoenberg, and Stravinsky (among others), and the world premieres of new works commissioned by the BSO from Milton Babbitt, Harbison, and Wuorinen.
In the 33 years since his Metropolitan Opera debut, James Levine has developed a relationship with that company that is unparalleled in its history and unique in the musi- cal world today. He conducted the first-ever Met performances of Mozart's Idomeneo and La clemenza di Tito, Gershwin's Porgy and Bess, Stravinsky's Oedipus Rex, Verdi's / vespri siciliani, I lombardi, and Stiffelio, Weill's Rise and Fall of the City of Mahagonny, Schoen- berg's Erwartung and Moses und Awn, Berg's Lulu, Rossini's La Cenerentola, and Berlioz's Benvenuto Cellini, as well as the world premieres of John Corigliano's The Ghosts of Ver- sailles and John Harbison's The Great Gatsby. All told, he has led more than 2,000 per- formances of 80 different operas there. This season at the Met he conducts 48 perform- ances of eight operas (including Otello, Carmen, Pelleas et Melisande, Le nozze di Figaro, Nabucco, La clemenza di Tito, and new productions of Die Zauberflbte and Faust) and the company's annual Pension Fund concert, a gala in May for the 50th anniversary of Mi- rella Freni's stage debut. Mr. Levine inaugurated the "Metropolitan Opera Presents" tele- vision series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world, including at Expo '92 in Seville, in Japan, on tours across the United States and Europe, and each year during and after the opera season on the orchestra's own subscription series at Carnegie Hall. Since 1998, Maestro Levine has led the MET Chamber Ensemble in three concerts annually at Carnegie's Weill Hall, now including performances at the new Zankel Hall there. He also gives a master class this season at Zankel Hall for the Marilyn Home Foundation, leads the Chicago Symphony in that orchestra's annual Pension Fund Concert, and returns to the Cincinnati May Festival for Berlioz's Requiem.
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Salem, 866-745-1876 pem.org daily 10am to 5pm | Open MA | | Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, espe- cially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He has been music director of the UBS Verbier Festival Orchestra since its founding in 2000 and, before coming to Boston, was chief conductor for five seasons of the Munich Philharmonic. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festi- val (1973-1978). In addition to his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orches- tra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.
Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (includ- ing piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wal- lenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964- 1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).
James Levine was the first recipient, in 1980, of the annual Manhattan Cultural Award, and was presented with the Smetana Medal by the Czechoslovak government in 1986, following performances of the composer's Ma VLast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds honorary doctorates from the University of Cincin- nati, the New England Conser- vatory of Music, Northwestern University, the State Univer- sity of New York, and the Juil- liard School. Mr. Levine is the recipient in recent years of the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; and America's National Medal of Arts and Kennedy Center Honors.
17 *Aza Raykhtsaum Ronald Wilkison David and Ingrid Kosowsky Michael Zaretsky chair Marc Jeanneret *Bonnie Bewick Theodore W. and Evelyn *Mark Ludwig Berenson Family chair * Rachel Fagerburg * James Cooke *Kazuko Matsusaka Stephanie Morris Marryott and *Rebecca Gitter ^^ Franklin J. Marryott chair *Victor Romanul Cellos BOSTON SYMPHONY Bessie Pappas chair Jules Eskin ORCHESTRA * Catherine French Principal 2004-2005 Catherine and Paul Buttenwieser Philip R. Allen chair, endowed chair in perpetuity in 1969 James Levine * Kelly Barr Martha Babcock Music Director Mary B. Saltonstall chair Assistant Principal Ray and Maria Stata * Alexander Velinzon Vernon and Marion Alden chair, Music Directorship, Kristin and Roger Servison chair endowed in perpetuity fully funded in perpetuity *Polina Sedukh in 1977 Donald C. and Ruth Brooks Sato Knudsen Bernard Haitink Heath chair, fully funded in Mischa Nieland chair, Conductor Emeritus perpetuity fully funded in perpetuity LaCroix Family Fund, Mihail Jojatu fullyfunded in perpetuity Second Violins Sandra and David Bakalar chair Seiji Ozawa Haldan Martinson Luis Leguia Director Music Laureate Principal Robert Bradford Newman chair, Carl Schoenhof Family chair, fully funded in perpetuity First Violins fullyfunded in perpetuity *Jerome Patterson Malcolm Lowe Vyacheslav Uritsky Lillian and Nathan R. Miller Concertmaster Assistant Principal chair Charles Munch chair, Charlotte and Irving W. Rabb *Jonathan Miller fully funded in perpetuity chair, endowed in perpetuity Charles and JoAnne Dickinson Tamara Smirnova in 1977 chair Associate Concertmaster Ronald Knudsen *0wen Young Shirley Helen Horner Mclntyre chair, Edgar and Grossman John F. Cogan, Jr., and Mary L. endowed in perpetuity in 1976 chair Cornille chair, fullyfunded in Juliette Kang Joseph McGauley perpetuity Assistant Concertmaster Shirley and J. Richard Fennell * Andrew Pearce Robert L. Beal, Enid L., and chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Bruce A. Beal chair, endowed in Ronan Lefkowitz *Mickey Katz perpetuity in 1980 David H. and Edith C. Howie Richard C. and Ellen E. Paine Elita Kang chair, fullyfunded in perpetuity chair, fully funded in perpetuity Assistant Concertmaster *Sheila Fiekowsky Edward and Bertha C. Rose * Jennie Shames Gordon and Mary Ford Kingsley chair * Valeria Vilker Kuchment Family chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, Basses *Si-Jing Huang fully funded in perpetuity Edwin Barker Lucia Lin *Nicole Monahan Principal Forrest Foster Collier chair * Wendy Putnam Harold D. Hodgkinson chair, Ikuko Mizuno *Xin Ding endowed in perpetuity in 1974 Dorothy Q. and David B. Arnold, Lawrence Wolfe Jr., chair, fully funded in Violas Assistant Principal perpetuity Maria Nistazos Stata chair, Steven Ansell in perpetuity tAmnon Levy Principal fully funded Muriel C. Kasdon Marjorie and Charles S. Dana chair, Joseph Hearne C. Paley chair endowed in perpetuity in 1970 Leith Family chair, *Nancy Bracken Cathy Basrak fully funded in perpetuity Ruth and Carl J. Shapiro chair, Assistant Principal Dennis Roy fully funded in perpetuity Anne Stoneman chair, Joseph and Jan Brett Hearne fully funded in perpetuity chair Edward Gazouleas John Salkowski * Participating in a system Lois and Harlan Anderson chair, Erich and Edith Heymans chair of rotated seating fully funded in perpetuity *James Orleans X On sabbatical leave Robert Barnes °0n leave § Substitute player
18 *Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fully funded Principal John Moors Cabot chair, in perpetuity Edward A. Toft chair, endowed fully funded in perpetuity *John Stovall in perpetuity in 1974 * Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fully funded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Tottenham chair in perpetuity in 1970 Timpani Fenwick Smith Contrabassoon Timothy Genis Myra and Robert Kraft chair, Gregg Henegar Sylvia Shippen Wells chair, endowed in perpetuity in 1981 Helen Rand Thayer chair endowed in perpetuity in 1974 Elizabeth Ostling Associate Principal Horns Percussion Marian Gray Lewis chair, James Sommerville Thomas Gauger fully funded in perpetuity Principal Peter and Anne Brooke chair, Helen Sagoff Slosberg/Edna fully funded in perpetuity Piccolo S. Kalman chair, endowed tFrank Epstein in perpetuity in 1974 Peter Andrew Lurie chair, Evelyn and C. Charles Marran Richard Sebring fully funded in perpetuity chair, endowed in perpetuity in Associate Principal J. William Hudgins 1979 Margaret Andersen Congleton Barbara Lee chair §Linda Toote chair, fullyfunded in perpetuity Daniel Katzen Assistant Timpanist Oboes Elizabeth B. Storer chair, Mr. and Mrs. Edward H. Linde John Ferrillo fully funded in perpetuity chair Principal Jay Wadenpfuhl Mildred B. Remis chair, endowed John P. II and Nancy S. Eustis Harp in perpetuity in 1975 chair, fully funded in perpetuity Ann Hobson Pilot Mark McEwen Richard Mackey Principal James and Tina Collias chair Hamilton Osgood chair Keisuke Wakao Jonathan Menkis Voice and Chorus Assistant Principal Jean-Noel and Mona TV. John Oliver Elaine and Jerome Rosenfeld Tariot chair Tanglewood Festival Chorus chair Conductor
Trumpets Alan J. and Suzanne W. Dworsky English Horn Charles Schlueter chair, fully funded in perpetuity Robert Sheena Principal Beranek chair, fully funded Roger Louis Voisin chair, Librarians in perpetuity endowed in perpetuity in 1977 Marshall Burlingame Peter Chapman Principal Clarinets Ford H. Cooper chair Lia and William Poorvu chair, William R. Hudgins Thomas Rolfs fully funded in perpetuity Principal Associate Principal William Shisler Ann S.M. Banks chair, endowed Nina L. and Eugene B. Doggett John Perkel in perpetuity in 1977 chair Scott Andrews Benjamin Wright Assistant Conductors Thomas and Dola Sternberg Rosemary and Donald Hudson Jens Georg Bachmann chair chair Anna E. Finnerty chair, Thomas Martin fully funded in perpetuity Associate Principal & Trombones Ludovic Morlot E-flat clarinet Ronald Barron Stanton W and Elisabeth K. Principal Davis chair, Personnel Managers fully funded in J. P. and Mary B. Barger chair, perpetuity fully funded in perpetuity Lynn G. Larsen Norman Bolter Bruce M. Creditor Bass Clarinet Arthur and Linda Gelb chair Craig Nordstrom Stage Manager Farla and Harvey Chet John Demick Krentzman chair, fully funded in perpetuity
19 ADIVARIUS
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20
I; ( BOSTON SYMPHONY ORCHESTRA
James Levine, Music Director Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005 &^3> Thursday, January 20, at 8 Friday, January 21, at 1:30 Saturday, January 22, at 8 THE GREGORY E. BULGER FOUNDATION CONCERT Tuesday, January 25, at 8 THE NATHAN R. MILLER FAMILY CONCERT
JAMES CONLON conducting
ULLMANN Piano Concerto, Opus 25
Allegro con fuoco Andante tranquillo Allegro Allegro molto GARRICK OHLSSON
INTERMISSION
SHOSTAKOVICH Symphony No. 7, Opus 60, Leningrad
Allegretto — Poco piu mosso Moderato (poco allegretto) Adagio Allegro ma non troppo
UBS is proud to sponsor the BSO's 2004-2005 season.
The evening concerts will end about 10:15 and the afternoon concert about 3:45.
Steinway and Sons Pianos, selected exclusively at Symphony Hall
Special thanks to Delta Air Lines, The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation
The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.
IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING THE CONCERT.
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**Co-presented with the Boston Early Music Festival Vocalists Ben Heppner tenor
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Maurizio Pollini Boston Marquee
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Lang Lang Joel Cohen music director , New England String Ensemble Dance Series* Susan Davenny Wyner conductor Bolshoi Ballet and Orchestra Raymonds and Don Quixote Max Levinson piano
Bill T. Jones/Arnie Zane Dance Company "The Phantom Project" Wendy Bryn Harmer soprano Sean Curran Company The Boston Conservatory Dance Theater Mark Morris Dance Group Sergey Schepkin piano Alvin Ailey American Dance Theater Paul Taylor Dance Company Family Musik
*co-presented with The Wang Center for the Performing Arts Saint- Saens' Carnival of the Animals and Robert Kapilow's And Furthermore, They Bite! Cabaret and Jazz Fairy Tales Inside/Out
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22 —
Viktor Ullmann Piano Concerto, Opus 25
Viktor Ullmann was born in what is now Tesin in the Czech Republic on January 1, 1898, and died at Ausch- witz on October 18, 1944. He composed his Piano Con-
certo in 1939 and had it published privately in 1940.
The first performance took place only on April 28, 1992, in Stuttgart, nearly a half-century after the composer's death, with Konrad Richter as piano soloist and Israel Yinon conducting the Brno State Philharmonic Orches- tra. James Conlon led the American premiere of the concerto on August 20, 2004, at the Aspen Music Fes- tival in Colorado, with pianist Christopher Taylor and the Aspen Chamber Symphony. The present perform- ances of the Piano Concerto are the first by the Boston Symphony Orchestra of any of Ullmann s music. In addition to the solo piano, the score calls for an orchestra of three flutes (third doubling piccolo), two oboes, English horn, three clarinets, E-flat clarinet, bass clarinet, two bas- soons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percus- sion battery (three players: triangle, suspended cymbals, clash cymbals, low tam-tam, tambourine, snare drum, bass drum with cymbals, castanets, glockenspiel), harp, tenor banjo, and strings. The duration of the piece is about nineteen minutes.
"The main point of artistic creation is to communicate."
—Viktor Ullmann (1921)
A restless spirit and lifelong seeker of truth, both in his life and in his art, Ullmann wrote these words at the very beginning of a career that was to encompass more radical changes of direction than most musicians ever experience. Perhaps the only constants in his life were his desire to communicate and his belief in the civilizing power of art though like many composers who reached artistic maturity in the years immediately fol-
lowing the First World War, he also fervently believed that music could not stand still, and that composers had to find a new language to enable them to speak directly to their contemporaries.
Ullmann was a true child of the Austro-Hungarian monarchy in that he was born into a military family in the Austrian-Silesian border town of Teschen (later to become the Czech-Polish border town of Tesin) and received most of his education in Vienna. In 1918 he joined Arnold Schoenberg's composition class and, as a forward-looking young man, became an enthusiastic supporter of Schoenberg's radical renewal of the language of music.
In 1919 he married a fellow Schoenberg pupil and moved to Prague, where he be- came a repetiteur at the German Theatre, whose head of music was then Alexander Zemlinsky (Schoenberg's brother-in-law). He was soon also taking on conducting en- gagements, writing occasional articles on music for Prague's German press, and trying to establish himself as a composer. But music was not the only thing that absorbed his energies: he became increasingly drawn to the anti-materialist philosophy of Rudolf Steiner and in 1931 decided to give up music altogether in order to devote himself entirely to the service of Steiner's Anthroposophical Society. Together with his second wife, Ullmann moved to Stuttgart, where for the next two years he ran an anthroposoph- ical bookshop. Hitler's coming to power in 1933 brought this interlude to an abrupt end: prohibited from working in Germany, the half-Jewish Ullmann returned to Prague and attempted to pick up the threads of his musical career.
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He had spent much of the previous two decades pondering the question of how to rec- oncile the radicalism of Schoenberg and his followers with the need to be understood, and had come to the conclusion that what made most sense for him was to try "to bridge the gap between romantic and 'atonal' harmony." The fruits of this approach can be heard clearly in the Piano Concerto (1939), which contains both astringent "modem" harmonies and "big" romantic tunes, lushly scored. The driven opening of the Piano Concerto unexpectedly recalls the opening of Bar- tok's ballet The Miraculous Mandarin, but does not have quite the same savage bite as the earlier work; the piano part alternates between the hammered triplets of the opening bars and a much more capricious style of writing. 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For more intormation call 617-994-9090 or visit our Sales and Intormation Center at 344 Commercial St. in Boston seven days a week. BATTERY WHARF Utopia engineered 26 romantic, with wide-arching Mahlerian melodies and a rich orchestration that is given a particularly distinctive sound by the emphasis on solo viola and cello. The third move- ment takes us into a very different sound-world: this is a scherzo that combines elements of ragtime and waltz. Ullmann had long believed that "serious" music could only bene- fit from an infusion of jazz: in the 1920s he had conducted performances of Kfenek's jazz-opera Jonny spielt auf (in which the main character is a saxophonist) and had also written an article urging other composers to take the saxophone more seriously. In the concerto he uses a tenor banjo in the ragtime passages of the scherzo for an especially authentic touch. Both the saxophone and the banjo were of course condemned by the Nazis as "entartete" or "degenerate" instruments, and the presence of such instruments in the music of a composer deemed to belong to an inferior race would no doubt have confirmed the Nazis in their views. Yet another influence emerges in the last movement —here, the incessant repetition of a tiny melodic cell and the abrupt dynamic contrasts recall Janacek, especially the Janacek of the Sinfonietta. Though Ullmann was thor- oughly steeped in German culture, at about this time he began to take a much greater interest in Slavonic music, and the second movement of his Piano Sonata No. 2 (which also dates from 1939) is based on a Moravian folk song collected by Janacek. The Piano Concerto was written for the young Slovak Jewish pianist Juliette Aranyi and inscribed "A Dionysiac work for the admirable mistress of Apollonian piano-play- ing." Aranyi never had an opportunity to perform the work—over the next couple of years, the humiliating restrictions on Czechoslovakia's Jewish community were gradually intensified, and in 1941 the transports to Terezin (known to the Germans as Theresien- stadt) began. Terezin was a small garrison town in northern Bohemia chosen by the Nazis to function both as a transit camp for Central European Jews whose ultimate des- tination was Auschwitz and as a "model ghetto" designed to fool the rest of the world into believing that the Jews had been allotted their own self-governing township. In the interests of maintaining this charade, the inmates were actively encouraged to pursue Carole Charnow, Genera/ Director OPERA BOSTON Gil Rose, Music Director U2004-2005 season at the Cutler Majestic Theatre, Boston Offenbach LA VIE PARISIENNE October 15, 17, 2004 Gluck ALCESTE Collaboration with Boston Baroque Martin Pearlman, Music Director January 28, 30, 2005 For brochure, call Ward 617 451-3388 or email [email protected] THE CRUCIBLE April 8, 10, 2005 Single tickets available at Majestic box office or through www.telecharge.com 1 800 233-3123 www.operaboston.org SUBSCRIBE NOW TO BOSTON'S MOST ADVENTUROUS OPERA COMPANY! 27 The Boston Modern Orchestra Project Is quickly becoming known as one of the top orchestras in the country for its award-winning concerts. BMOP presents today's most provocative classical music performed by the best of Boston's superb musicians. THIS MONTH As New England Conservatory's Affiliate Orchestra for New Music, BMOP presents PROGRAM \ SATURDAY JANUARY 22, 2005 8:00 MOTES-7:00 wiLh JORDAN HALL AT NEW ENGLAND CONSERVATORY the evening's composers PRESENTING SOLOISTS AND COMPOSERS WHO MAKE BOSTON THEIR HOME, INCLUDING Eric Chasalow Donald Martino William Thomas McKinley ZELTSMAN Michael McLaughlin Eliot Gattegno, saxophone Ian Greitzer, clarinet Nancy Zeltsman, marimba Gil Rose, conductor BUY ONE TICKET AND RECEIVE A SECOND TICKET FREE. (Call and mention promotion code "bso free" by 5:00 pm, January 19.] For complete concert programs or to learn more about soloists and composers 617-363-0396 presented by BMOP, visit or call: WWW.BMOP.ORG | 28 cultural activities, and when Ullmann arrived in Terezin in September 1942 he was assigned the role of music critic of the Freizeitgestaltung or "leisure administration." This meant that he was exempt from hard physical labor and was able to devote himself almost entirely to music. Several other distinguished Czech composers—among them Pavel Haas, Hans Krasa, and Gideon Klein—were also interned in Terezin (all were dispatched to Auschwitz on the same death-transport in October 1944), and Ullmann characteristically saw it as his mission to raise the profile of contemporary music within the camp. He founded a "Studio fur neue Musikleitung," but his efforts in this area did not always meet with the approval of the camp elders, who were evidently not especially adventurous in their musical tastes and were inclined to favour the more easily accessible staples of the classic and romantic repertoire. When Aranyi too arrived in Terezin, bringing with her a copy of the score of the Piano Concerto, Ullmann saw this as an opportunity to secure a premiere for his work, with himself playing the orchestral part on a second piano. How- ever, his hopes were to be dashed, as can be seen from the following quotation from a letter he wrote in June 1943 to the deputy head of the Terezin Council of Elders: I have just heard that the artist [Aranyi] is being compelled to play Mozart instead of the first performance of my Piano Concerto. This seems to substantiate the ironic accusation made by an Aryan paper—that there is no such thing as music by Jew- ish composers, or at least that we do not perform it. As far as we know, Ullmann's plea fell on deaf ears, and the work remained unper- formed during his lifetime—and indeed for almost another fifty years. (It finally received its premiere in Stuttgart in 1992, when it was played by Konrad Richter and the Brno State Philharmonic Orchestra conducted by Israel Yinon.) But despite such frustrations, the Terezin experience seems to have been a creatively liberating one for Ullmann. During his time in the camp, he composed three piano sonatas, a string quartet, an opera, several orchestral works, and numerous songs and choruses—an astonishing achievement, considering the conditions of extreme depriva- tion in which all the inmates lived. As Ullmann himself acknowledged, the act of com- position was one of the few ways in which he and his fellow artists could assert the tenacity of the human spirit: It must be stressed that Theresienstadt has served to intensify, not to curb, my musical activities, that by no means did we sit weeping on the banks of the waters of Babylon, and that our spirit of artistic enterprise was commensurate with our desire to live. —Paula Kennedy Paula Kennedy has written extensively on Czech and Hungarian music for concert organiza- tions and the musical press in the United Kingdom and elsewhere. She is a contributor to the forthcoming Cambridge Companion to Dvorak, has provided annotations for London/Decca's "Entartete Musik" series, and is also a translator and surtitler, working regularly with the Royal Opera House, Covent Garden and Garsington Opera. 29 Week 12 WR L Premier Corporate and Event Travel "We are proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra." Meetings and events, Career Chauffeurs, 7 days a week/ 24-hour phone reservations, Online reservations, FAA flight tracking system 800.558.5466 or 617.779.1919 • commonwealthlimo.com 30 Dmitri Shostakovich Symphony No. 7, Opus 60, Leningrad Dmitri Dmitrievich Shostakovich was born in St. Peters- burg on September 25, 1906, and died in Moscow on August 9, 1975. He composed his Seventh Symphony in the last half of 1941, writing the first two movements in Leningrad (as St. Petersburg was then called) just before and just after the beginning of the siege of that city by the German army. The last two movements were composed in Kuibyshev, in central Russia just east of the Volga River, after Shostakovich and his family had been evacuatedfrom Leningrad. The last page of the score is dated December 27, 1941. The first perform- ance was given by the orchestra of the Bolshoi Theater under the direction of Samuel Samosud on March 5, 1942. Arturo Toscanini conducted the American pre- miere with the NBC Symphony Orchestra in a radio broadcast from Radio City in New York on July 1 9 that same year. Serge Koussevitzky gave the American concert premiere less than a month later, on August 14, 1942, at Tanglewood, with the Berkshire Music Center (now Tanglewood Music Center) Orchestra, as part of a "Gala Benefit for Russian War Relief." Koussevitzky then gave the first Boston Symphony performances in October 1942 in Boston and Cambridge, also leading the work out of town in Providence, Hart- ford, New York, Brooklyn, Buffalo, Ann Arbor, Pittsburgh, and Rochester in the following months (through mid-December), the only subsequent BSO performances being led by Leonard Bernstein (December 1948 and March 1949 in Boston; August 1949 at Tangle- wood), Leonard Slatkin (the most recent Tanglewood performance, on July 8, 1 984), and Valery Gergiev (the most recent subscription performances, in March 1995). The score calls for a large orchestra consisting of two flutes and piccolo (doubling third flute), two oboes and English horn, two clarinets, piccolo clarinet in E-flat, and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, five timpani, triangle, tambourine, snare drum, cymbals, bass drum, tam-tam, xylophone, two harps, piano, and strings, plus an additional brass group consisting of three trumpets, four horns, and three trombones. Relations between Hitler's Germany and Stalin's Russia were complex and subject to sudden change at any time. At first it was quite evident to Stalin that Fascist Germany could be none other than a foe to Communism and Russia, since Hitler had an almost pathological fear of Bolsheviks. In 1936, determined to build morale at home against the potential German enemy, Stalin promoted the creation of an historical film depicting a thirteenth-century battle in which a Russian peasant army defeated a better-armed German force. The result just happened to be a cinema classic, Sergei Eisenstein's Alexander Nevsky—which happened to boast one of the great motion picture scores, by Prokofiev. But in 1939, not long after the film was released, Hitler and Stalin signed a non-aggression pact, vowing that the forces of fascism and communism would never fight one another. The pact held for three years, when Hitler, having completed his Blitzkrieg in western Europe, finally decided to move east against Russia. Shostakovich was then a teacher at the Leningrad Conservatory. In May he had sent his wife and their two children to their dacha outside the city, near the Gulf of Finland, where they normally spent the summer, while he finished up his academic duties at the conservatory. On a fateful June 22 he had remained in the city to give an examination and then attend a soccer match, one of his favorite non-musical pastimes. There was no game. On that day, Germany invaded Russia, and all such activities were cancelled. Like many other inhabitants of Leningrad, Shostakovich joined in digging trenches at the 31 Week 12 THE WALTER PISTON SOCIETY CoMMs a^dQ/e&ay (Jo4l pictured with portraits of Carlos' father and mother, Humbert and Luisa ArdizzoniTosi. Carlos and Velia Tosi have a great fondness for the Symphony. "My mother, Luisa Ardizzoni Tosi, was an opera singer whose students sang on the Symphony Hall stage," said Mr. Tosi. It's easy to understand why Mr. and Mrs. Tosi chose to endow a seat in Symphony Hall in memory of their son. Their charitable gift annuity funded the seat in perpetuity. They both feel that this was a good investment. "It was the easiest decision we could have made—from the heart." To learn more about giving opportunities that pay YOU to give, please contact Robert Meya at (617) 638-9252 or [email protected]. You may be assured of complete confidentiality. 32 entrances to the city. Later he joined the civilian defense force, working as a fireman. At the same time he continued composing. In addition to some small pieces—songs and the like—for immediate practical use, he began work in August on a large sym- phony. He played over portions of the first movement for his friend Ivan Sollertinsky, who was then conducting the Leningrad Philharmonic. On August 22 the orchestra and Sollertinsky were evacuated to Novosibirsk. A week later Shostakovich wrote to tell him he had finished the first movement of the symphony and that he and his family expect- ed to leave Lenin- grad shortly. Just two days later the Ger- man army cut off the last rail link between Leningrad and the rest of the country; this event marked the beginning of the 900-day blockade. From September 1941 to February 1943, Leningrad, a city of three million people, was sur- rounded by an ene- my army and con- July 1941 photo Shostakovich in a s uniform, an A of firefighter demned to death bv image used propaganda purposes for starvation. Some- where between 600,000 and a million people died, mostly from cold and hunger, during that terrible period, described by Harrison Salisbury as "the greatest and longest siege ever endured by a modern city, a time of trial, suffering and heroism that reached peaks of tragedy and bravery almost beyond our power to comprehend." Yet during this time, theaters and orchestras, decimated in ranks though they were, continued to mount per- formances to sustain the spirit of the city. They must have been ragged, and they were certainly anything but lavish. Still, they testify magnificently to the power of human spirit. In the first months of the siege, Shostakovich and his family were still inside the city. He continued his work with the fire brigade and spent his spare time composing the massive score for his new symphony. On September 17 he was asked to speak on the Leningrad radio: An hour ago I finished scoring the second movement of my latest large orchestral composition. If I manage to write well, if I manage to finish the third and fourth movements, the work may be called my Seventh Symphony Why am I telling you all this? I'm telling you this so that the people of Leningrad listening to me will know that life goes on in our city. . . . As a native of Leningrad who has never abandoned the city of my birth, I feel all the tension of this situation most keenly. My life and work are completely bound up with Leningrad. That night a group of musicians went to hear Shostakovich play over the two completed movements. The composer Valerian Bogdanov-Berezowsky noted in his diary: Tonight we went to Shostakovich. Twice he played for us two movements of his new symphony (the Seventh). He told us of the over-all plan. The impression we all had was tremendous. Miraculous is the process of synchronization, of instantaneous creative reaction to the surrounding experiences, clad in a complex and large form 33 Week 12 u Sfhe finest service I have encountered!" "I have recently encouraged two colleagues to call upon you and will continue to pass along my sincere recommendations. I can always trust in the Bank's expert advice and great service. In an inconstant world, my loyalty to Boston Private Bank remains unchanged." We appreciate our clients for taking the time to write and share their experiences with us. Our relationship approach to private banking and investment management is founded on our commitment to exceptional service, our acces- sibility and responsiveness, and our ability to tailor financial services to the needs of our individual and business clients. Many of our clients tell us we are the region's finest private bank. 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After a slow journey they arrived in Kuibyshev on October 22, and there he remained until after the completion of the Seventh Symphony in the last days of 1941. Shostakovich had hoped that the sym- phony could receive its first perform- ance from the Leningrad Philharmonic and that the conductor would be Yev- geny Mravinsky, who had led the pre- mieres of the Fifth and Sixth sympho- nies, but the orchestra was far away in Novosibirsk. On the other hand, the orchestra of the Bolshoi Theater had been evacuated, like Shostakovich, to Kuibyshev. So it was that ensemble that played the first performance of the sym- phony, first in the city of their evacua- tion on March 5, 1942, and soon after- ward in Moscow. The dramatic circumstances of the symphony's composition—more than A 1941 propaganda poster depicting the city half of it in a besieged city in wartime of Leningrad under German siege and its obvious power as a symbol of sturdy resistance to Nazi aggression made it eagerly sought for by performers in all Allied countries. England heard it first under the direction of Henry Wood. For the first American performance, the score and orchestral parts were microfilmed and flown to New York, where they were prepared for the use of Toscanini's NBC Symphony Orches- tra broadcast. When the entire country heard the work on July 19, 1942, it had an elec- trifying effect. Carl Sandburg wrote an open letter to the composer for the Washington Post: All over America last Sunday afternoon goes your Symphony No. 7, millions listen- ing to your music portrait of Russia in blood and shadows. The world outside looks on and holds its breath. And we hear about you Dmitri Shostakovich—we hear you sit there day after day doing a music that will tell the story Your song tells us of a great singing people beyond defeat or conquest who across years to come shall pay their share and contribution to the meanings of human freedom and discipline. So intense was the interest in this symphony composed under such dramatic circum- stances that Shostakovich's portrait even appeared on the cover of Time, in a pose that showed the composer wearing his fireman's hat from the Leningrad civilian defense force! The symphony was performed at Tanglewood that summer, too—though not by the Boston Symphony Orchestra, which, owing to the war, was not in residence. But Serge Koussevitzky had insisted that the Berkshire Music Center—the educational arm of Tanglewood—should go on as planned, and it was with the BMC Orchestra that Koussevitzky conducted his first performance of the Shostakovich Seventh. This took 35 Week 12 AT THE UNUSUAL HOUR TMGLEWOOD-AUGUST 14, 1942- OF S.-00 O'CLOCK CBerween Stoakbridae and Ltnox. Massachusetts) (folo. Benefit for RUSSIAN WAR RELIEF Auspices: RUSSIAN WAR RELIEF, INC. and KOUSSEVITZKY MUSIC FOUNDATION * • • PROGRAM BERKSHIRE MUSIC CENTER ON PARADE 5:00—3:45 In the Shed In the Theatre Orchcstru Opera In the Barn In the Chamber Music HaU Chorus Instrumental Ensembles FAX FA RE THE MANIFESTATION 6:00—7:00 Distinguished guests will give expression to the ihouyiiis and feelings associated with tots great occasion. The program constitutes o Manifestation of our unity in diversity, under freedom— the American way of life. LAWN PARTY—Picnic Supper 7:00—8:00 FANFARE GALA CONCERT—Shostakovich Symphony No. 7 8:00—9:10 (First Concert Performance in the Western Hemisphere) MUSIC CENTER ORCHESTRA SERGE KOU5SEVITZKY, Conductor I.NTEHMISSIOiV RECITAL OF WORLD FAMOUS SOLOISTS 9 2S—10:00 DOROTHY MAYNOR GREGOR PIATIGORSKY ALBERT SPALDING DRAW FOR PRIZES 1045 • • • From the August 1942 American concert premiere under Koussevitzky of the "Leningrad' Symphony at Tanglewood 36 place on August 14 in a gala concert dedicated to Russian war relief (see opposite page); it was the first concert performance of the symphony—as opposed to a radio broad- cast—in the western hemisphere. Every major orchestra in the country programmed the symphony that season; there were sixty-two performances throughout the United States. Koussevitzky scheduled it repeatedly in Boston and on tour. But no performance anywhere can have been as moving as the first hearing of the symphony in Leningrad, the city to which Shostakovich dedicated the score. It took place on August 9, 1942, while the siege was still going on. The orchestra had to be assembled from wherever players could be found. The only orchestra remaining in Leningrad was the one connected with the radio station, and it had dwindled to fifteen players. Conductor Karl Eliasberg had posters put up, asking for other musicians within the city to report to the Radio Committee. When the score arrived—flown in on one of the transport planes carrying medical supplies—Eliasberg discovered that he was still short of the required number of players. To fill out the orchestra, the military command released musicians from the units actively fighting in the front lines. The performance was broadcast by radio to the entire city, with loudspeakers set up in public areas so that all could hear. After its first season, at least in the west, the Shostakovich Seventh had few perform- ances indeed. In general, the symphony dropped out of the repertory almost as fast as it had entered. There were reasons for that, of course. The symphony is very long and was directly tied to an historical event that was rapidly receding into the past. And despite its evident passion, it was not favorably received by all critics even at the very beginning. Westerners in particular, contrary to their Russian counterparts, tended to regard the work as second-rate. Ernest Newman created the bon mot at the time that Shostakovich's symphony could be located on the musical map "between so many degrees of longitude and so many degrees of platitude." The work has generally been regarded as too long to sustain its musical ideas—particularly the notorious "war" passage in the first move- ment, in which a simple tune is reiterated over and over again (like Ravel's Bolero) with an ever-larger orchestral coloring. Shostakovich, it is true, wrote the symphony at great speed, but he was not slipshod in his work. It is important to remember that he was writing for a group of people who were caught up in the immediacy of war—just as he was during the first stages of the composition. And for these people, the symphony worked. A somewhat different view of the symphony was proffered in the book Testimony, which claimed to be the memoirs of Shostakovich "as related to and edited by Solomon MEYER & MEYER ARCHITECTURE AND INTERIORS 617 266-0555 LEED® Accredited www.meyerandmeyerarchitects.com 37 Life only gets better. Mr. & Mrs. Richard Hill, Fox Hill Village residents Music, traveling, sailing, and entertaining enriched the lives of Dick Hill, former CEO of Bank of Boston, and his wife, Polly, a past member of the Boston Symphony Board of Overseers. Now the welcoming sociability of Fox Hill Village and the many onsite cultural activities offered there (college courses, movies, lectures, and concerts) fit the Hills' active lifestyle. Distinguished floor plans, convenient fitness center, dependable security, and the flexibility and accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction. Come and experience for yourself the incomparable elegance of Fox Hill Village, New England's premiere retirement community. To learn more, call us at 781-329-4433. Developed by the Massachusetts General Hospital. Fox Hill Village at Westwood 10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B off Route 128) 38 Volkov"; they were smuggled out of the Soviet Union and published first in English in 1979. There continues to be much debate about the authenticity of the memoirs, the Soviet government in particular claiming that they are a forgery. But many details and viewpoints attributed to the composer in the book have been confirmed by long-time friends such as the late conductor Kiril Kondrashin, who emigrated to the West. According to Volkov's book, Shostakovich recalled that the inspiration for the Seventh Symphony had come well before the German attack on Russia, though that event certainly played a part in its final form. I've heard so much nonsense about the Seventh and Eighth Symphonies Every- thing that was written about these symphonies in the first few days is repeated without any changes today, even though there has been time to do some think- ing Thirty years ago you could say that they were military symphonies, but sym- phonies are rarely written to order, that is, if they are worthy to be called sym- phonies I do write quickly, it's true, but I think about my music for a comparatively long time, and until it's complete in my head I don't begin setting it down The Seventh Symphony had been planned before the war and consequently it simply cannot be seen as a reaction to Hitler's attack. The "invasion theme" has nothing to do with the attack. I was thinking of other enemies of humanity when I com- posed the theme. Naturally, fascism is repugnant to me, but not only German fascism, any form of it is repugnant. Nowadays people like to recall the prewar period as an idyllic time, saying that everything was fine until Hitler bothered us. Hitler is a criminal, that's clear, but so is Stalin. I feel eternal pain for those who were killed by Hitler, but I feel no less pain for those killed on Stalin's orders. I suffered for everyone who was tortured, shot, or starved to death. There were millions of them in our country before the war with Hitler began. The war brought much new sorrow and much new destruction, but I haven't for- gotten the terrible prewar years. That is what all my symphonies, beginning with the Fourth, are about, including the Seventh and Eighth. Actually, I have nothing against calling the Seventh the Leningrad Symphony, but it's not about Leningrad under siege, it's about the Leningrad that Stalin destroyed and that Hitler merely finished off. The majority of my symphonies are tombstones. Too many of our people died and were buried in places unknown to anyone, not even their relatives. It happened to many of my friends I think constantly of those people, and in almost every major work I try to remind others of them. In the composer's view, then, the Leningrad Symphony is to be considered more a requiem than a piece of rabble-rousing jingoism. The "war" section of the first movement is atypical of the work as a whole, though it has drawn most of the critical opprobrium and has diverted attention from the rest of the work. Shostakovich evidently planned to give the four movements titles at first, but later thought better of the idea. The planned titles were supposed to have been "War," "Reminiscence" (of pleasant happenings), "Native Expanse," and "Victory." It is clear at once that the middle two movements have little direct connection with the war, and even in this early version of the program Shostakovich noted that the first-movement recapitulation was "a funeral march, a deeply tragic episode, a mass requiem," which would accord well enough with his ideas as quot- ed by Volkov. Corresponding accounts of the work's genesis have been set out more recently in Laurel E. Fay's Shostakovich: A Life (Oxford University Press, 2000) and in Volkov's very recent Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictator (Knopf, 2004). The first movement is evidently the most programmatic of the entire symphony—at any rate, its musical shape is distorted by ideas that seem not to be directly connected 39 Week 12 BOSTON B MIKKO NISSI is tic Director LASYLPHIDE March 3-6 /March 10-13, 2005 NEW PRODUCTION Music: Herman Lvvenskjold Choreography: Sorella Englund after August Bournonville Scenic Design and Costumes: Peter Cazalet 7 FALLING ANGELS March 17-20,2005 FALLING ANGELS IN THE MIDDLE, SOMEWHAT ELEVATED Music: Steve Reich Music: Thorn Willems Choreography://^ Kylidn Choreography: William Forsythe SARABANDE WORLD PREMIERE Music: Johann Sebastian Bach Music: Arcangelo Corelli Choreography: Jiri Kylidn Choreography: Lucinda Childs THE SLEEPING BEAUTY May 5-15, 2005 Music: Peter ilyich Tchaikovsky Choreography: Sergey ev / de Valois SUBSCRIBE FOR SPRING! 3-Ballet Flex Pass available NOW! Call BOSTON BALLET at 617.695.6955 TICKETS $18-98 • CALL TELECHARGE AT 1.800.447.7400 Tickets also available at The Wang Theatre Box Office, open Mon-Sat, 10 am-6 pm. Groups of at least 15 call 617.456.6343. TTY 1.888.889.8587 ,f8«: www.bostonballet.org Seas ° n Lea(l Sponsor Photos of Larissa Ponomarenko; Yury Yanowsky and Romi Beppu; Larissa Ponomarenko and Nelson Madrigal by John Deane; (^sf) rttmCmSt^ 40 Hi -•',-.' Our guests can always depend on us to provide the necessities of life, like beethoven's ninth. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of the world's greatest orchestras, the Boston Symphony and the Boston Pops. HOTELS & RESORTS Places in the heart Call your travel agent or 1 800 441 1414 www.fairmont.com The Fairmont Copley Plaza, Boston • The Fairmont Washington D.C. The Fairmont Olympic Hotel, Seattle • The Plaza, New York City Plus 39 other destinations in Canada, U.S., Mexico, Barbados, Bermuda and United Arab Emirates. HBHHHBBHI Fr: knowing what's right To: doing what's right EMC IS COMMITTED TO THE COMMUNITIES IN WHICH WE LIVE AND WORK. We're proud to support a growing list of causes, projects, and events ranging from the concert hall to the classroom. We help cus- tomers of all sizes manage growing information through information life- cycle management— and we're honored to do our part for the world's knowledge, courage, respect, peace, and spirit of competition. \ Learn more at www.EMC.com. 2 EMC , EMC and where information lives are registered trademarks of EMC Corporation. ©2004 EMC® Corporation. All rights reserved. The Boston Symphony Orchestra is a brilliant example of how UBS builds relationships with our clients. With expertise, understanding and a commitment to success. In music, in investments, in life. You and us. www.ubs.com UBS is a proud season sponsor of the BSO. I Wealth Global Asset I Investment Management I Management I Bank UBS )UBS 2004. The key symbol and UBS are registered and unregistered trademarks of UBS. All rights reserved. Delta, the Official Airline of the Boston Symphony Orchestra, is proud to work in partnership with many exceptional arts organizations worldwide. By providing in-kind donations and company resources, we hope to keep the arts a vital part of our community Photograph by Michael Lutch a.:c llll , to the discourse of its exposition. The opening theme is warm and vigorous, the musical ideas undergoing a confident expansion in striking contrast to the second theme, which is both simple and direct. At the point where a development would be expected we have an interruption: over a barely perceptible snare drum rhythm, the strings, half plucked and half played with the wood of the bow, -,. iet) ,,.«.. snap out a crisp marchlike theme that will dominate the entire central passage of the movement. It assimilates two phrases built of descending scales that sound for all the world like a quotation from Lehar's TIME * This popular operetta The Merry Widow could be interpreted as a specific though ironic reference to the German armies marching on Leningrad—and, indeed, it has generally been so interpreted. The drum rhythm is repeated over and over while the "war march" grows darker and heavier with a more and more elaborate orchestration. The climax of the develop- ment is fused impressively with the be- ginning of the recapitulation, where Shos- takovich first suggests the character of the symphony as a requiem by reworking /\ ^htfUiiiiBI the second theme into a reflective Adagio of lamentation. The two middle movements are more . . «-MBdn easily understood in traditional symphon- ic terms than the first. The second move- The July 1942 cover of "Time" showing ment is a lyrical foil to the power of the Shostakovich in his fireman's helmet full orchestra that dominated so much of the opening. The new theme that soon appears in the oboe is ingratiating, though Shosta- kovich inserts rhythmic irregularities and unexpected inflections of the melody that keep the movement alive. The middle section is a vigorous interruption, occasionally martial in character. The third movement begins with sustained chords for the winds (and harps) that re- call Stravinsky's ritual mode, followed by a wonderfully simple flute melody. The mid- dle section is a sharp interruption in this lyrical mood; once again the dotted rhythms and the heavier orchestration suggest darker deeds that drive out the human directness of the main theme, though that makes its way back at the end. The finale is not at all the kind of tub-thumping glorification of military power that we might expect from the wartime composition. Indeed, it is here that the composer's later comments as published in Testimony seem most germane. The build-up of energy *The tune is from Danilo's entrance song, "Da geh' ich zu Maxim''' ("I'm going to Maxim's"). According to Volkov, this tune contained an "in joke" for Shostakovich's friends. In Russia, the tune was sung to the words "poidu k Maksimy ya" ("I'll go see Maxim"), which could have been applied within the family to the composer's young son, Maxim. The constant reiteration of this tune in the development of the symphony had another musical echo. At the time of Toscanini's broadcast performance, Bela Bartok was working on his Concerto for Orchestra on a commission from Serge Koussevitzky for the Boston Symphony. He listened to the broadcast performance and was outraged by what he regarded as the utter simplemindedness of the first movement's development, so he incorporated the same tune from Lehar in his new score, where he treated it in a savage parody; it is the "interruption" in the "Interrupted Intermezzo," the fourth movement of Bartok's work. 41 Week 12 Marketing Fine Homes, Land And Estates Topsfield Chestnut Hill (Brookline) 290 IPSWICH ROAD 125 YARMOUTH 8.75+ Acres Surrounded by Willowdale State For- A lovely parcel in one of Chestnut Hill's est & Bradley Palmer State Park. This beautiful best neighborhoods. Renovate the existing hilltop building site is surrounded on 3 sides by 1955 ranch with six rooms and 3500 square the 2,400 acre Willowdale State Forest and the feet, or build anew at the end of this high- 721 acre Bradley Palmer State Park. Only an 8 ly desired street. Parcel offers 40,600 minute drive from Topsfield and Ipswich Centers square feet with interesting topo and pri- and commuter rail service to Boston. $895,000 vate rear yard. $3,200,000 Richard L. Church 617-357-8956 Terry Maitland 617-357-8949 Weston Chestnut Hill (brookline) 35 WINSOR WAY FERNWOOD ROAD This elegant contemporary has a westerly ori- A beautiful one-acre-plus lot in the heart of entation and sits on an elevated site of 1.0+ Chestnut Hill. This bucolic setting features acres of lawn and woods near the Weston Golf flat, rolling land overlooking a small pond. Club. Renovated in an elegant style the home Situated on a quiet cul-de-sac in a family ft. light-filled living has 3,200 sq. of space, large neighborhood, this parcel is located in the windows, 9 sunfilled rooms including living Country Club neighborhood just a chip shot room, family room, dining room, library, 3 bed- away from the club itself. A prime parcel in rooms, 3-5 baths, and 3 fireplaces. $1, 725,000 a prime neighborhood. $3,650,000 Terry Maitland 61 7-357-8949 Terry Maitland 617-357-8949 ® Landl/est THE NEXT LEVEL OF SERVICE Ten Post Office Square, Boston, MA 02109 617-723-1800 CHRISTIES Exclusive www. landvest. com Affiliate of GREAT ESTATES 42 ?» ; Em rf' -w Ira H $"* 'llf 1 1% from the quiet beginning is gradual and carefully controlled. Then, after an extended climax for full orchestra, the instruments drop away gradually, leaving only a single vio- lin line. Now a new musical paragraph gives rise to a feeling of mass mourning, which finally turns into the symphonic peroration of the coda. It is worth quoting once again from the Shostakovich memoirs apropos of this last movement: [I]t's ridiculous to speak of a triumphal finale in the Seventh. There's even less basis for that [than in the Fifth], but nevertheless, the interpretation does appear. Words are some protection against absolute idiocy, any fool will understand when there are words. There's no total guarantee of that, but a text does make the music more accessible. The premiere of the Seventh is proof of that. I began writ- ing it having been deeply moved by the Psalms of David; the symphony deals with more than that, but the Psalms were the impetus. I began writing. David has some marvelous words on blood, that God takes revenge for blood. He doesn't forget the cries of the victims, and so on And if the Psalms were read before every per- formance of the Seventh, there might be fewer stupid things written about it. There are few Shostakovich works that are harder to approach objectively today. The Seventh Symphony was a response to a particularly tragic period in history, especially in Russia. Shostakovich's music cannot be heard simply as an abstract composition without completely overlooking the aesthetic of the musical expression of the composer and of his culture. While we may listen to this music as we do any other—seeking to understand its shape and expression in terms of melody, harmony, rhythm, and orches- tral color—we must also keep in mind the particular historical context in which the work was composed in order to have any hope of receiving the message that the com- poser has written. —Steven Ledbetter Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes pro- gram notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall. 43 dw NEW ENGLAND CONSERVATORY It's about! the. US1C Gabriel Chodos, piano recital NEC piano department co-chair performing works by Liszt, Beethoven Mon January 24, 8pm, NEC's Jordan Hall NEC's Weilerstein Trio Joined by special guest Courtenay Budd performing works by Shostakovich, Schumann Wed January 26, 8pm, NEC's Jordan Hall Benaim String Quartet Outstanding European string quartet visits NEC Wed February 2, 8pm, NEC's Jordan Hall Jazz Masters Concert with Dave Holland World-renowned bassist perfoms at NEC Thur February 10, 8pm, NEC's Jordan Hall For complete concert info and to sign up for our e-newsletter, visit www.newenglandconservatory.edu Free concerts almost every night of the year. Located just one block from Symphony Hall at 290 Huntington Ave. 44 — More . . . Little has been written on Viktor Ullmann in English. The article in the 2001 New Grove Dictionary of Music and Musicians is by Ingo Schulz; the very brief entry in the 1980 edition of Grove (where even the place and year of Ullmann's death were qualified by question marks) was by Josef Bek. The article "Viktor Ullmann: A Brief Biography and Appreciation" by Max Bloch appeared in Journal of the Arnold Schoenberg Institute, Vol. Ill, No. 2 (October 1979). On the general subject of composers whose careers and lives were disrupted and/or ended by the Nazis, there are two good books by Michael H. Kater: The Twisted Muse: Musicians and their Music in the Third Reich and Compos- ers of the Nazi Era: Eight Portraits, the latter including chapters on Egk, Hindemith, Weill, Hartmann, Orff, Pfitzner, Schoenberg, and Strauss (both Oxford University paper- back, the former published in 1997, the latter in 2000). Worth seeking, too, though like- ly harder to find, are Joza Karas's Music in Terezin (Beaufort Books, NY, 1985) and Erik Levi's Music in the Third Reich (Macmillan, London, 1994). There is a wide selection of Ullmann's music available on compact disc. The Piano Concerto has been recorded by the performers who gave the belated 1992 premiere pianist Konrad Richter, conductor Israel Yinon, and the Brno State Philharmonic—on a disc with the composer's Symphony No. 2 and the Variations, Fantasy, and Double Fugue for orchestra (Bayer). Richter has also made a two-disc set of Ullmann's seven piano sonatas (Bayer), which are available also in recordings by Edith Kraus (Nos. 1-4, on EDA) and Gregor Weichert (Nos. 5-7, on cpo). James Conlon has recorded Ullmann's Symphonies 1 and 2 with the Giirzenich Orchestra of Cologne (Capriccio, also includ- ing the Six Lieder, Opus 16, with soprano Juliane Banse, and the overture Don Quixote Dances a Fandango). Interview and rehearsal material with Conlon figure in "Estranged Passengers—In Search of Viktor Ullmann," a documentary on the composer's life that serves as a "companion DVD" to the conductor's aforementioned disc (also Capriccio). The BSO-based Hawthorne String Quartet has recorded Ullmann's String Quartet No. 3 (Channel Classics, on a disc entitled "Chamber Music From Theresienstadt," also in- cluding music of Gideon Klein). Currently available recordings also include a two-disc set of Ullmann's Lieder composed between 1937 and 1943, here featuring a number of singers (in Orfeo's "Musica Rediviva" series), and the stage works Der Kaiser von Atlantis ("The Emperor of Atlantis," on Arabesque; Robert De Cormier conducts the Vermont Symphony Orchestra and Chorus plus soloists), Der zerbrochene Krug ("The Broken Pitch- er," also in Orfeo's "Musica Rediviva" series, with Ullmann's Symphonic Rhapsody for orchestra; Gerd Albrecht conducts the Deutsches Symphonie-Orchester Berlin plus solo- Your Boston Address for Oxxford Clothes, the world's finest ONE LIBERTY SQUARE • BOSTON • 02109 • 617-350-6070 Best Custom Shirts - Boston Magazine, 1998 Best Classic American Suits- Boston Magazine, 1999 Best Men's Suits- Improper Bostonian, 2000 Best Power Ties-Improper Bostonian, 2001 Serving The Financial District Since 1933 45 Just a block north of where you are sitting tonight is a realm of discovery that celebrates the power of ideas. History's great thoughts overflow a high-tech fountain and swirl up the walls of the Hall of Ideas®. The three-story Mapparium® wraps you in the sound of voices that have changed the world. "Quotes" Cafe offers food for thought and thoughtful food in a comfortable setting. And that's just the first floor! Fountain/Scu The Mary Baker Eddy Library 200 Massachusetts Avenue, Boston MA 02115 888-222-371 1 wwAV.marybakereddylibrary.org 46 hhi ran ists), and Der Sturz des Antichrist ("The Fall of the Antichrist," on cpo; Rainer Koch conducts the Bielefeld Philharmonic Orchestra and Bielefeld Opera Choir plus soloists). An earlier recording of Der Kaiser von Atlantis, with Lothar Zagrosek conducting the Gewandhaus Orchestra of Leipzig plus vocal soloists, released in 1994 in London/Decca s "Entartete Musik" series, seems to be currently unavailable, at least in the United States. There are three recent entries to the Shostakovich bibliography: Shostakovich and Stalin by Solomon Volkov (Random House), Shostakovich and his World by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continue to address issues of authenticity surrounding Volkov's earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, pub- lished originally in 1979 (Proscenium). Other important books on the composer include Elizabeth Wilson's Shostakovich: A Life Remembered (Princeton University paperback); Laurel E. Fay's Shostakovich: A Life (Oxford University paperback), and the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press). For a recording of the Leningrad Symphony, I'd recommend Valery Gergiev's with the Kirov Orchestra (Philips). Others include (listed alphabetically by conductor) Paavo Berglund's with the Bournemouth Symphony Orchestra (EMI), Leonard Bernstein's with the Chicago Symphony Orchestra (Deutsche Grammophon), Semyon Bychkov's with the West German Radio Symphony Orchestra of Cologne (Avie), Bernard Haitink's with the London Philharmonic Orchestra (London), Mariss Jansons's with the Leningrad Philharmonic (EMI), Kurt Masur's with the New York Philharmonic (Teldec), and Yuri Temirkanov's with the St. Petersburg Symphony Orchestra (RCA). The historic American premiere performance (actually more important as an "event" than for per- formance values), a broadcast of July 19, 1942, with Arturo Toscanini leading the NBC Symphony Orchestra, though transferred to CD in 1991, is currently unavailable (RCA). —Marc Mandel Command Performance Inspiring communications that get attention. ADAMS proudly supports the Boston Symphony Orchestra. 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A '.'' ••.•.'.'.-'- ':' -- 1 *rau James Conlon Conductor James Conlon has spent the major part of the last two decades in Europe, serving as principal conductor of the Paris National Opera (1995-2004), general music director of Cologne, Germany (1989-2002), and music director of the Rotterdam Phil- harmonic (1983-1991). He has been music director of the Cincin- nati May Festival since 1979. Beginning with the 2005 season, Mr. Conlon will become music director of the Ravinia Festival, and he becomes music director of the Los Angeles Opera in the 2006-07 season. Since his New York Philharmonic debut in 1974, he has appeared as guest conductor with virtually every major North Ameri- can and European orchestra. Having held the longest tenure of any conductor since 1939 at the Paris Opera, Mr. Conlon concluded his directorship there in July 2004. His leader- ship is associated with an increase in artistic standards, overall productivity, and atten- dance, which, in an era of diminishing audiences, has increased exponentially in the past decade. He conducted 32 operas with a total of over 357 performances there. During 2004- 05 Mr. Conlon will lead most of the major United States orchestras, including the New York Philharmonic, Cleveland Orchestra, Boston Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Cincinnati Symphony, and the New World Symphony, as well as conducting at the Van Cliburn Piano Competition. He also leads the Montreal Symphony Orchestra at Carnegie Hall. In Europe he will lead the Royal Concertgebouw of Amsterdam, the Bayerischer Rundfunk, London's BBC Symphony Orchestra, the La Scala Philharmonic, the Orchestra of the Maggio Musicale Fiorentino, the Finnish Radio Orches- tra, the Giirzenich Orchestra of Cologne, and the Russian National Orchestra. He will also return to the Metropolitan Opera, where he has led more than 220 performances since his debut in 1976, to conduct Tosca and Un ballo in maschera. He opened the Maggio Musicale Fiorentino's operatic season in Florence with Khovanshchina. In an effort to raise public consciousness about the significance of music of composers whose lives were affected by the Holocaust, Mr. Conlon is programming this music with as many American and European orchestras as possible, including music by such composers as Alexander von Zemlinsky, Viktor Ullmann, Pavel Haas, Bohuslav Martinu, Erich Korngold, Karl Amadeus Hartmann, and Erwin Schulhoff. Mr. Conlon has recorded extensively for the EMI, Sony Classical, Erato, Capriccio, and Telarc labels; he has won awards for his recordings of the works of Zemlinsky. In 1999 he received the Zemlinsky Prize for his efforts in bringing that corn- Boston Symphony Orchestra concertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra in memory of Mark Reindorf. DALE CHIHULY INSTALLATIONS AND SCULPTURE A Full-Service Lifecare Retirement Community BROOKHAVEN AT LEXINGTON (781) 863-9660 . (800) 283-1114 www.aboutbrookhaven.org HOLSTEI^SALtERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 41 3.298.3044 www.holstengalleries.com 49 Please join us for a unique concert featuring internationally renowned pianist Garrick Ohlsson with author Maurice Sendak and other special guest artists to benefit the Terezin Chamber Music Foundation Monday, January 24th, 2005 7:30 PM The Colonnade, Boston Huntington Ballroom Tickets and information: (857)222-TCMF(8263) www. terezinmusic. org TCMF is supported in part by: massculturalcouncil.or Great chamber The areas finest chamber musicians perform in 2 exquisite music venues: Trinity Church in Newton Centre and the is right newly transformed Peabody Essex Museum in Salem. where you live! Call 617.964.6553 For Season schedule, venues, directions and to download an order form: www.BostQnArtistsEnsemble.org 50 poser's music to international attention. In September 2002, in recognition of his work with the Paris Opera, he received the Legion d'Honneur from French President Jacques Chirac. James Conlon made his Boston Symphony Orchestra debut in January 1981 and has ap- peared frequently with the orchestra since 1993, including annual Tanglewood appearances from 1996 to 2003. His most recent performances with the orchestra were for subscription concerts in April 2004, when he led music of Beethoven and Zemlinsky. Garrick Ohlsson Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has distinguished himself worldwide for both his interpretive and technical skills. Though he has long been regarded as one of the world's leading exponents of Chopin's music, he commands an enormous repertoire ranging over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson is noted for his performances of the works of Mozart, Bee- thoven, and Schubert, as well as for the Romantic repertoire. His concerto repertoire alone is unusually wide and eclectic—ranging from Haydn and Mozart to works of the 21st century—and to date he has at his command some 80 concertos. Highlights of his 2004-05 season include per- formances with the Orpheus Chamber Orchestra at Carnegie Hall and with the Emerson String Quartet at Zankel Hall. He will also perform with the Leipzig Gewandhaus Orches- tra on its North American tour. In recent seasons Mr. Ohlsson has performed recital series devoted to the original music and transcriptions of Liszt, Rachmaninoff, and Busoni. He has also commissioned and premiered a new John Adams work for solo piano, American Berserk, and a piano concerto by the noted young composer Michael Hersch. In the summer of 2005 he will perform Beethoven piano sonatas at the Verbier Festival in Switzerland. As a chamber musician, Garrick Ohlsson has collaborated with the Cleveland, Emerson, Takacs, and Tokyo string quartets, among other ensembles. With violinist Jorja Fleezanis and cel- list Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, Bridge, BMG, Delos, Hanssler, Nonesuch, Telarc, and Virgin Classics labels. For Arabesque he has recorded the complete solo works of Chopin and four volumes of Beethoven sonatas. A native of White Plains, New York, Mr. Ohlsson began his piano stud- ies at the age of eight. He attended the Westchester Conservatory of Music and at thirteen entered the Juilliard School. His musical development has been influenced by such teach- ers as Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhevinne, and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he remains immensely popular. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. He makes his home in San Francisco. A frequent guest of the Boston Sym- phony Orchestra since his BSO debut at Tanglewood in August 1971, he appeared with the orchestra most recently in March 2004, in subscription performances of Rachmaninoff's Piano Concerto No. 3. In August 2004 he was soloist with the Tanglewood Music Center Orchestra in Beethoven's Piano Concerto No. 4 as part of the TMC's annual Leonard Bern- stein Memorial Concert. 51 33s s a noisy world out there jr? vjnr- se above the din. For twenty-five years, Sametz Blackstone has provided communications and design counsel to leading corporate, academic, and cultural organizations—to build brand awareness, BSO, Tanglewood, Pops promote products and services, raise capital, Boston Ballet and add measurable value. Bank of America Celebrity Series Harvard University The need may be a comprehensive branding program or a website, a capital campaign or Yale University an annual report. Through strategic consulting, MIT Sloan School of Management thoughtful design, and innovative technology, Tufts Health Plan we've helped both centenarians and start-ups The American Ireland Fund to effectively communicate their messages, Scudder Investments / Deutsche Bank offerings, and personalities-to achieve Dana-Farber Cancer Institute resonance—and be heard above the din. Whitehead Institute for Biomedical Research Boston Public Library City of Boston Sametz Blackstone Associates Compelling communications-helping evolving organizations navigate change 40 West Newton Street 617.266.8577 Blackstone Square [email protected] Boston 02118 www.sametz.com Great Benefactors In the building of his new symphony for Boston, the BSO's founder and first bene- factor, 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 donations 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 permanent recogni- tion as Great Benefactors of this great orchestra. For more information, contact Robert Meya, Acting Director of Major and Planned Giving, at (617) 638-9252. Anonymous (13) Mr. and Mrs. Harvey Chet Krentzman Mr. and Mrs. Harlan E. Anderson The Kresge Foundation Dorothy and David B. Arnold, Jr. Liz and George Krupp AT&T Mr. and Mrs. R. Willis Leith, Jr. Bank of America Mr. and Mrs. Edward H. Linde Mr. and Mrs. J. P. Barger Nancy Lurie Marks Foundation Gabriella and Leo Beranek Kate and Al Merck George and Roberta Berry Mr. and Mrs. Nathan R. Miller Jan Brett and Joseph Hearne The Richard P. and Peter and Anne Brooke Claire W Morse Foundation Catherine and Paul Buttenwieser William Inglis Morse Trust Chiles Foundation National Endowment For Arts Mr. John F. Cogan, Jr., and NEC Corporation Ms. Mary L. Cornille Mrs. Robert B. Newman Mr. Julian Cohen Mrs. Mischa Nieland and Commonwealth of Massachusetts Dr. Michael Nieland Mr. and Mrs. William H. Congleton Mr. and Mrs. Norio Ohga Lewis S. and Edith L. Dabney William and Lia Poorvu Mr. and Mrs. Stanton W. Davis Raytheon Company Estate of Mrs. Pierre de Beaumont Estate of Wilhelmina C. Sandwen EMC Corporation Dr. Raymond and John P. II and Nancy S. Eustis Hannah H. Schneider Shirley and Richard Fennell Carl Schoenhof Family Fidelity Investments Ruth and Carl J. Shapiro Estate of Verna Fine Miriam Shaw Fund Estate of Anna E. Finnerty Ray and Maria Stata Mr. and Mrs. John H. Fitzpatrick Mr. and Mrs. Thomas G. Sternberg Germeshausen Foundation Miriam and Sidney Stoneman The Ann and Gordon Getty Foundation Estate of Elizabeth B. Storer Estate of Marie L. Gillet Diana Osgood Tottenham The Gillette Company UBS Mrs. Donald C. Heath Verizon Susan Morse Hilles Trust Stephen and Dorothy Weber Estate of Edith C. Howie The Helen F. Whitaker Fund John Hancock Financial Services Mr. and Mrs. John Williams 53 Life Care Center Life Care Center Life Care Center Whytebrook Terrace of Attleboro of Merrimack Valley of the South Shore 401-233-2880 508-222-4182 978-667-2166 781-545-1370 Life Care Center Life Care Center Life Care Center Life Care Center ofWilbraham of Auburn of Nashoba Valley of Stoneham 413-596-3111 508-832-4800 978-486-3512 781-662-2545 Life Care at Home, Cherry Hill Manor Life Care Center Life Care Home Care Nursing and of the North Shore Center 1-888-667-6878 Rehabilitation 781-592-9667 of Acton Center 978-263-9101 Life Care Center Life 401-231-3102 & of Plymouth The Oaks Care** Evergreen House 508-747-9800 Nursing Center Centers Health Center 508-998-7807 of America 401-438-3250 Life Care Center of Raynham Life Care Center TLife Care at 508-821-5700 of West Bridgewater J lOIHC 508-580-4400 Skilled Nursing Rehabilitation Long Term Care Assisted Living Home Care 54 BOSTON SYMPHONY ORCHESTRA 2OO4-2OO5 SEASON Tie Hiesinsgginson Society &The Higginson Society embodies the tradition of musical excellence established in 1881 by the Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson. During the 2003-2004 season, Higginson Society members provided more than $2,500,000 to the Annual Fund, the largest single source of annual gift income from individuals. The Boston Symphony Orchestra gratefully acknowledges the following Higginson Society donors who have contributed between December 17, 2003, and December 16, 2004. For more information about the Higginson Society, call (617) 638-9253. appassionato-$ioo,ooo and above The Estate of Elisabeth K. Davis Mr. and Mrs. Nathan R. Miller virtuoso-$50,ooo to $99,999 Mr. and Mrs. George D. Behrakis ENCORE-$25,OOQ to $49,999 Anonymous (1) Megan and Robert O'Block Mr. and Mrs. Peter A. Brooke Jane and Neil Pappalardo Gregory E. Bulger Mr. Irving W. Rabb Mr. and Mrs. Julian Cohen Stephen and Dorothy Weber Mr. and Mrs. Edward H. Linde Mr. and Mrs. Stephen R. Weiner Mr. and Mrs. Jeffrey E. Marshall Drs. Richard and Judith Wurtman The Richard P. and Claire W. Morse Foundation MAESTRO-$15,000 to $24,999 Anonymous (1) Richard and Susan Landon Harlan and Lois Anderson Mr. and Mrs. John M. Loder Gabriella and Leo Beranek Carmine and Beth Martignetti Catherine and Paul Buttenwieser Joseph C. McNay Mr. John F. Cogan, Jr., and Mrs. August R. Meyer Ms. Mary L. Cornille Mrs. Robert B. Newman Don and Donna Comstock Annette and Vincent O'Reilly Mrs. William H. Congleton Susan and Dan Rothenberg Cynthia and Oliver Curme Carole and Edward I. Rudman Roberta and Macey Goldman Kristin and Roger Servison Mrs. Marilyn Brachman Hoffman Mr. and Mrs. Samuel Thorne Liz and George Krupp Mr. and Mrs. Robert C. Winters Continued on page 57 55 oldwell Banker Previews C^^/^a^/^a^C LEXINGTON, MA $2,350,000 LEXINGTON, MA $2,188,000 Builder's own magnificent estate set on over 1 acre of stunning A touch of Beacon Hill in Lexington Center. Two-year old land with specimen plantings. Elegant two-story marble foyer, custom Colonial exquisitely designed and sited to blend with two Palladian windows, historic Boston City Hall pavers, and compliment other gracious homes on Meriam Hill circular drive, and 3-car attached garage. The best in materials Features over 5,000 square feet of living space on four levels and details. Judy Alexander, Lexington, MA office, (781) 446- with easy to care for grounds. Phyllis Reservitz, Lexington, MA 2844, [email protected] office, (617) 966-1919, [email protected] CAMBRIDGE, MA $3,500,000 NORWELL, MA $1,975,000 Spectacular 3,600-square-foot condominium with breathtaking Spectacular five-bedroom home on 13.76 acres, designed for panoramic views of the Boston skyline, including views of the elegant entertaining and easy living. Dramatic marble foyer and Charles River from the master bedroom. Fantastic state-of-the- grand staircase, formal living and dining rooms, in-ground art kitchen, luxurious living room, health spa, 24-hour concierge, heated pool, mahogany decks. Amenities include a high-tech 2 deeded parking spaces. Phyllis Reservitz, Lexington, MA home theater, wine room and a home gym. Liz McCarron, office, (617) 966-1919, [email protected] Norwell, MA office, (781) 659-7955, [email protected] MANCHESTER, MA $2,200,000 Gracious harborfront home offers lovely water views 1 and a private dock. Five bedrooms, living room with bay window, kitchen with fireplace, garden room, romantic master suite. There are two legal apart- ments and a heated harbor- NEWTON, $3,000,000 MA front artist studio. Located on one of Newton's most coveted streets, on 2 acres of Ida Doane land, this gracious 12-room Colonial provides an opportunity Manchester, MA office to live close to Boston in private surroundings. Also available (978) 526-7572 is a 25,041-square-foot buildable lot for $1,000,000. [email protected] Survey/topographical studies completed. Susan Heyman and Toby Klebenov, Newton, MA office, (617) 969-2447. COLDUieU. (800) 548-5003 coldwell BANKER Banker ./'/•CO/Cffht RESIDENTIAL BROKERAGE Previews.NewEnglandMoves.com ^Kjjggjg i=r f Wta?. m The Higginson Society (continued) patrons-$io,ooo to $14,999 Dorothy and David Arnold Richard and Joy Gilbert Batal Ms. Lucille M. Mr. and Mrs. Francis W. Hatch, Jr. Mrs. Linda Cabot Black Julie and Bayard Henry Mr. and Mrs. John M. Bradley Mr. and Mrs. George H. Kidder Mr. and Mrs. Alan S. Bressler Mr. and Mrs. Harvey Chet Krentzman Jan Brett and Joseph Hearne Anne Lovett and Stephen Woodsum Mr. William Brohn Ray L. and Connie Morton-Ewbank Mrs. Irving S. Brudnick Louise C. Riemer Samuel B. and Deborah D. Bruskin Mrs. George R. Rowland Ronald and Ronni Casty Mr. and Mrs. Kenan E. Sahin Mrs. Florence C. Chesterton-Norris Mr. and Mrs. Carl J. Shapiro Mr. and Mrs. Abram T. Collier Ms. Eileen C. Shapiro and John and Diddy Cullinane Dr. Reuben Eaves Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Ross E. Sherbrooke Nina L. and Eugene B. Doggett Mr. and Mrs. Ray Stata William R. and Deborah Elfers Ms. Jean C. Tempel Ginger and George Elvin Mr. and Mrs. Daniel Waintrup Roger and Judith Feingold Mr. David C. Weinstein Hon. and Mrs. John H. Fitzpatrick James and Jeanne Westra Mrs. Bruni Fletcher-Koch Henry and Joan T. Wheeler Mrs. Kenneth Germeshausen J. Dr. and Mrs. Michael J. Zinner sponsors-$5,ooo to $9,999 Anonymous (8) Mr. David L. Driscoll Miss Barbara Adams Charles and JoAnne Dickinson Bob and Pam Adams Mr. Alan Dynner Helaine and Alvin Allen William R. and Deborah Elfers Joel and Lisa Schmid Alvord Mrs. Priscilla Endicott Mr. and Mrs. Walter Amory Nancy J. Fitzpatrick and Lincoln Russell Mrs. Rae D. Anderson Mr. and Mrs. Dean W Freed Mr. and Mrs. Sherwood E. Bain Mr. John Gamble George and Roberta Berry Mr. and Ms. Richard B. Gamble Doreen and Charles Bilezikian David Endicott Gannett Brad and Terrie Bloom Jane and Jim Garrett William T. Burgin Ann and Gordon Getty Foundation Rick and Nonnie Burnes Chad and Anne Gifford Mr. Gordon E. Cadwgan Carol R. and Avram J. Goldberg Mr. Charles Christenson Thelma and Ray Goldberg Jim and Barbara Cleary Mr. and Mrs. Robert S. Green Loring and Katinka Coleman The Hagan Family Fund Mr. Eric D. Collins Mr. and Mrs. Ulf B. Heide Sarah Chapin Columbia and Carol and Robert Henderson Stephen Columbia Mr. and Mrs. Charles Hood Mr. and Mrs. Albert M. Creighton, Jr. Mr. and Mrs. William W. Hunt Mr. and Mrs. Bigelow Crocker, Jr. Ms. Eunice Johnson and Mr. Vincent Panetta Highgale Fund at the Boston Foundation Mr. and Mrs. C. Bruce Johnstone Tamara P. and Charles H. Davis II Debbie and Ted Kelly Mr. and Mrs. Miguel de Braganca Dr. and Mrs. Arthur R. Kravitz Paul F. and Lori A. Deninger Don and Gini LeSieur Continued on page 59 57 We're trusted by generations to advise generations. We're Derby and Company. We have built long-lasting relationships with individuals and families who have trusted us to preserve, manage and grow their wealth. When you choose us, we listen, we understand, and we work with you to design an investment program that meets your unique needs. <&& 1% Burt Derby Mark Derby Jonathan Derby Derby and Company Investment, Trust and Retirement Services 7 Wells Ave., Newton, MA 02459 • 617-527-0033 www.derbyandcompany.com October 14. 16. 17 2004/2005 Season Mahler: Adagio from Symphony I Das Lied von der Erde Boston Philharmonic Gigi Mitchell-Velasco, mezzo-so| Benjamin Zander, Conductor Thomas Young, tenor November 18. 20. 21 Ravel: La Valse Gershwin: Concerto in F Kevin Cole, piano Stravinsky: Petrushka February 10. 12. 13 Bruckner: Symphony No. 8 ADril 28. 30. Mav'l Penderecki: Threnody to the Victims of Hiroshima Bridge: Oration, Concerto Elegiacq Alexander Baillie, cello Prokofiev: Symphony No. 5 Benjamin Zander and the Boston Philharmonic Subscribe and save up to 20% For Tickets: Call 617.236.0999 or www.bostonphil.org ",''. .Zander's transcendent Philharmonic!" -Boston Globe 58 ./''' The Higginson Society (continued) SPONSORS-$5,000 to $9,999 continued Dr. and Mrs. Frederick H. Lovejoy, Jr. John and Susanne Potts Mr. and Mrs. John F. Magee Mr. and Mrs. Richard Prouty Dr. and Mrs. Joseph B. Martin Peter and Suzanne Read Kate and Al Merck Mike and Maureen Ruettgers Dr. Martin C. Mihm, Jr. Mr. and Mrs. Douglas H. Sears Mr. and Mrs. John D. Montgomery Mr. and Mrs. Christopher Smallhorn Mrs. Olney S. Morrill Patricia L. Tambone Mr. and Mrs. Peter M. Nicholas Mr. and Mrs. Theodore H. Teplow Mr. and Mrs. Gerald F. O'Neil Mr. and Mrs. William F. Thompson Dorothy R. P. Palmer Mr. and Mrs. Charles W Trippe, Jr. Dr. and Mrs. Oglesby Paul Rev. and Mrs Arthur A. Wahmann Mr. and Mrs. E. Lee Perry Mrs. Charles H. Watts II Ms. Ann M. Philbin Lawrence and Dawn Weber Mr. Daniel A. Phillips and Mr. and Mrs. Reginald H. White Rev. Diana W. Phillips Lynne and Frank Wisneski May and Daniel Pierce Chip and Jean Wood Mrs. Hollis W. Plimpton, Jr. Dr. and Mrs. Nicholas T. Zervas William and Lia Poorvu MEMBERS-$2,500 to $4,999 Anonymous (22) Leonard and Jane Bernstein Mr. and Mrs. James M. Clark Amy and David Abrams Mr. and Mrs. Robert J. Mr. and Mrs. Ronald C. Bill Achtmeyer Bettacchi Clark Mr. James E. Aisner Mr. and Mrs. Philip W Jim and Barbara Cleary Vernon R. Alden Bianchi Mr. and Mrs. Frederic M. Harl and Lois Aldrich Benjamin and Annabelle Clifford Ms. Elizabeth Alexander Bierbaum Ms. Mary Hart Cogan Mr. Reginald Alleyne Mr. and Mrs. Jordan Birger Maryann and Kenneth Cohen Mr. and Mrs. Stephen H. Mrs. Stanton L. Black Dr. and Mrs. Lawrence H. Anthony Mr. and Mrs. Joseph M. Blair Cohn Marjorie Arons-Barron and Ms. Sue Blessing Mr. Stephen E. Coit James H. Barron Mr. and Mrs. John Bok Mrs. I. W Colburn Mr. and Mrs. Laurence Mark G. and Linda Borden Mrs. Aaron H. Cole Asquith Barbara and Gary Bowen Marvin and Ann Collier Diane M. Austin and Mrs. William C. Brengle Mr. and Mrs. Woolsey S. Aaron J. Nurick Ms. Sierra Bright Conover Mr. and Mrs. Neil Ayer, Jr. Gertrude S. Brown Victor Constantiner Sandy and David Bakalar Ms. Michele C. Brown Mr. and Mrs. John L. Cooper Ms. Hope L. Baker Mrs. Douglas W Bryant Prof, and Mrs. Stephen Judith Barr Mr. Matthew Budd, M.D. and Crandall Mr. Stephen Y. Barrow Ms. Rosalind Gorin Loretto and Dwight Crane Mr. and Mrs. Frank Bateman Jean Fiol Burlingame Joan P. and Ronald C. Molly and John Beard and Gene Burlingame Curhan Martin and Kate Begien Dr. and Mrs. Edmund B. Mr. and Mrs. Eric Cutler Mr. Larry Belcaster Cabot Dr. and Mrs. Philip D. Cutter Deborah Davis Berman and Harold and Judith Brown Bob and Lynn Daly William H. Berman Caro Robert and Sara Danziger Mr. William I. Bernell David and Karin Wayne Davis and Wally and Roz Bernheimer Chamberlain Ann Merrifield Continued on page 61 59 This organization is funded in part by the Massachusetts Cultural Council, a state agency. ^THE BOSTON CONSERVATORY COME SEE The Boston Conservatory Orchestra February 6 Conducted by Bruce Hangen MORE THAN Beethoven, Barber, and Strauss DANCEMUSIC THEATER Call Office for tickets: 61 7-496-2222 | the Harvard Box | 8 the fenway, boston, massachusetts 0221 5 event line: 61 7-91 2-9240 www.bostonconservatory.edu | | 1 A Maintenance-Free Lifestyle on 35 acres overlooking trie Suaoury River 1 Spacious 1, 2, or 2 Bedroom w/Den Designs • 24-Hour Security • Fine Dining • Fitness Center 1 • Social Activities • Housekeeping • Indoor Parking Newbury Court For more information, call Joyce Irvine Cassidy at: (978) 369-5155. * ' JNewN llnglandP Deaconess AssociationA 100 NewWy Court, Concord, MA 01742 ^ WWW.nedeaCOneSS.com LEJ Equal Housing Opportunity 60 The Higginson Society (continued) MEMBERS-$2,500 to $4,999 continued Mr. Thomas Dean Daphne and George Mr. and Mrs. Benjamin Mr. and Mrs. Stephen Hatsopoulos H. Lacy Demirjian Deborah Hauser Mrs. Eleanor Williams Ladd Mr. and Mrs. Robert W. Dr. Edward Heller, Jr. Roger and Myrna Landay Doran Mr. Gardner C. Hendrie and Charitable Foundation Ms. Debira Douglas-Brown Ms. Karen J. Johansen Mr. and Mrs. Louis E. Lataif Mr. Wesley H. Durant, Jr. Mrs. Noah T. Herndon Mr. and Mrs. Robert A. Mr. and Mrs. Goetz B. Eaton Richard and Carole Lawrence Mrs. Caroline Edwards Higginbotham Mr. and Mrs. Richard A. Dr. and Mrs. Richard H. Mr. and Mrs. Richard D. Leahy Egdahl Hill Mr. and Mrs. David S. Lee Mr. and Mrs. Richard S. Mr. James G. Hinkle and Mr. and Mrs. Robert Emmet Mrs. Roy Hammer Lepofsky Dorothea and Mr. John Hitchcock Mr. Alexander M. Levine Bradford Endicott Patricia and Galen Ho Ms. Emily Lewis John P. II and Mr. Albert A. Holman III Christopher and Laura Nancy S. Eustis Ms. Emily C. Hood Lindop Thomas Forest Farb and Mrs. Harry P. Hood, Jr. Mr. and Mrs. Parker Stacy Siana Valhouli Ms. Ruth Horowitz and Llewellyn Shirley and Richard Fennell Mr. Robert Schwartz Lucia Lin Mr. and Mrs. Lawrence K. Mr. and Mrs. Charles A. Keith Lockhart Fish Hubbard II Mrs. Dunbar Lockwood, Jr. Mrs. Gerald Flaxer G. Lee and Diana Y. Shari Loessberg and Dr. Eric T. Fossel Humphrey Christopher Smart Dr. and Mrs. Henry L. Foster Mr. and Mrs. Roger B. Hunt Mr. Graham Atwell Long Myrna H. and Mrs. Henderson Inches, Jr. Mrs. Augustus P. Loring Eugene M. Freedman Mrs. Joanie V. Ingraham Mr. and Mrs. Caleb Mr. Stefan M. Freudenberger Mrs. James H. Jackson Loring, Jr. Mr. and Mrs. Henry L. Mr. Herbert R. Jacobs Mr. and Mrs. John A. Foster Mr. and Mrs. Michael Joyce MacLeod II Mr. and Mrs. M. Dozier Mr. and Mrs. Bela T. Kalman Peter E. and Betsy Ridge Gardner Mr. and Mrs. Edwin M. Madsen Rose and Spyros Gavris Kania, Jr. Mr. James A. Manninen Arthur and Linda Gelb Susan B. Kaplan Dr. and Mrs. John D. Stephanie Gertz Mr. James B. Keegan Matthews Mr. Frank S. Gilligan Bill Kelly Dr. Robert and Jane B. Ms. Pamela Ormsbee Giroux Joan Bennett Kennedy Mayer Mr. Robert Glauber Mr. Paul L. King Mr. William F. Meagher, Jr. Dr. and Mrs. Clifford D. Mr. and Mrs. Thomas P. Mrs. Robert G. Millar Gluck King Jeffrey and Molly Millman Jordan and Sandy Golding Mrs. Mary S. Kingsbery Mr. Peter Minichiello Mr. and Mrs. Daniel S. Mrs. Elena Kingsland Trudi and Elliot Mishara Gregory Gordon and Prof, and Mrs. Robert Mr. and Mrs. David Mary Ford Kingsley Mnookin Griesinger Joanie and Doug Kingsley Barbara and Jack Morgan Ann and Graham Gund Ms. Barbara M. Kirchheimer Robert and Jane Morse Mr. John Thomas Hailer Mr. Mason J. 0. Klinck, Sr. Mr. and Mrs. George Mosse L. Margaret Hargrove Sue and Harry Kohn Anne J. Neilson Ellen and John Harris Alice Bator Kurland Mr. and Mrs. Andrew L. Mr. and Mrs. Reed Harris Mr. and Mrs. Melvin Kutchin Nichols Continued on page 63 61 Welch & Forbes llc 45 SCHOOL STREET PROFESSIONALS BOSTON, MA 02108 T: 6i7.523.l635 RICHARD F. YOl'NC R R H S 1 O K N T M. LYNN BRENNAN PETER P. BROWN PAMELA II. CHANG THOMAS N. DABNEY PAUL R. DAVIS JOHN H. EMMONS, JR, CHARLES T. II AY DOCK ARTHUR C. HODGES KATHLEEN B. MURPHY THEODORE E. OBER RICHARD OLNEY III P. ERTC ROBB ADRTENNE G. STLBERMANN Investment Management and OLIVER A. SPALDING BENJAMIN J. WILLIAMS, JR Fiduciary Services since 1838 North Andover's PREMIER Li/eCare™ RETIREMENT COMMUNITY Spacious 1 & 2 bedroom apartments Over 60 beautiful, wooded acres Full range of health care services available Developed and managed by industry leader, Life Care Services LLC Edgew 575 Osgood Street • North Andover, MA (978) 725*3300 J Freedom, Control, Stability, Health Care lzj 36111 62 The Higginson Society (continued) MEMBERS-$2,500 to $4,999 continued Mrs. Albert L. Nickerson Marcia A. Rizzotto Mr. and Mrs. Richard D. Mrs. Mary Niles Elaine and Jerome Rosenfeld Stone Mr. Rodger P. Nordblom Dr. and Mrs. David S. Patricia Hansen Strang Mr. and Mrs. Richard Rosenthal Mr. and Mrs. Joseph Norman Dean and Mrs. Henry Swiniarski Dr. James L.J. Nuzzo and Rosovsky Jeanne and John Talbourdet Dr. Bryann Bromley Debbie and Alan Rottenberg Mrs. Charles H. Taylor Mr. and Mrs. Robert T. Mr. William Rousseau Mr. and Mrs. John L. O'Connell Jordan S. Ruboy, M.D. Thorndike Martha O'Neill Mr. John Rutherford Mr. and Mrs. W. Nicholas Jason S. and Barbara Stephen and Eileen Samuels Thorndike Meltzer Orlov Sylvia L. Sandeen Marian and Dick Thornton Mrs. Stephen Davies Paine Betty and Pieter Schiller Drs. Eugene J. and Hilde H. Joseph and Joan Patton Mr. and Mrs. Marvin G. Tillman Mr. and Mrs. John A. Schorr Mr. H. Stephen Tilton Perkins Linda and Arthur Schwartz Mr. and Mrs. Carlos H. Tosi Mr. J. H. Dainger Perry Ginny and Tom Scott Diana Tottenham Ms. Margaret Philbrick and Robert E. Scully, M.D. Marc Ullman Mr. Gerald Sacks Mr. and Mrs. Robert G. Mr. and Mrs. John H. Mr. and Mrs. Richard D. Scully Valentine Phippen Mrs. Francis P. Sears, Jr. Mr. and Mrs. William C. Van Angie and Leon Piatelli Maurice and Sarah Segall Faasen Leo Wasserman Foundation Robert G. Segel and Mr. Robert A. Vogt Muriel K. Pokross, Trustee Janice L. Sherman Mr. and Mrs. Roger L. Dr. and Mrs. Jerome Porush The Shane Foundation Voisin William and Helen Pounds Mr. and Mrs. Malcolm L. Mr. and Mrs. Mark Volpe Dr. Tina Young Poussaint Sherman Mr. and Mrs. William G. and Dr. Alvin Poussaint Mr. Marshall H. Sirvetz Walker Ms. Helen C. Powell Maggie and John Skenyon Nancy T. Watts Mr. and Mrs. Millard H. John W Spillane and Mr. Matthew A. Weatherbie Pryor, Jr. Rosemary A. Spillane Harry and Ruth Wechsler Mr. and Mrs. Patrick J. Dr. and Mrs. Michael Sporn Ms. Gillian H. Whalen Purcell Mrs. George R. Sprague William Gallagher Ms. Sally Quinn Micho and William Spring Associates Gale and Nancy Raphael Mrs. Rex Stark Mr. Stetson Whitcher Mr. and Mrs. Laurence S. Maximilian and Nancy Mrs. John W White Reineman Steinmann Margaret C. Williams Robert and Ruth Remis Mr. Thomas G. Sternberg Mrs. John J. Wilson Dr. and Mrs. George B. Ira and Jacquie Stepanian Mr. and Mrs. Leslie J. Reservitz Fredericka and Howard Wilson Donna Riccardi and Douglas Stevenson Rev. and Mrs. Cornelius A. Green Mr. and Mrs. Galen L. Stone Wood, Jr. Howard and Sharon Rich Mr. and Mrs. Henry S. Stone Mr. and Mrs. D. Brooks Zug Mr. and Mrs. Mark V. Esta-Lee and Harris E. Rickabaugh Stone 63 SOvations Boston Symphony Orchestra and Symphony Hall corporate sponsorship reflects the increasing importance of partnership between business and the arts. The BSO is honored to be associated with the following companies and grate- fully acknowledges their contributions. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected]. This corporation has sponsored BSO or Symphony Hall concerts and activities during the 2004-2005 season at the $500,000 or more level. --- y-r> ^ UBS is excited to continue its partner- l-C ^^ ship with the Boston Symphony Or- \-J J_-r L_y chestra through its exclusive season sponsorship. Both UBS and the BSO have deep roots in Boston and UBS is proud to support one of the city's most celebrated cultural institutions. UBS, the global financial services leader, is committed to supporting excellence in orchestral music. In addition to its sponsorship of the BSO, Mark B. Sutton UBS also supports The Philadelphia Orchestra, the Utah Sym- Chairman and CEO, phony, and the UBS Verbier Festival Orchestra under the direc- UBS Financial Services, tion of James Levine. inc. These corporations have sponsored BSO or Symphony Hall concerts and activities during the 2004-2005 season at the $200,000-$499,999 level. Delta is proud to support the arts in ADelta Boston as the official airline of the Boston Symphony Orchestra. It's certainly an honor to trans- port musicians and music lovers alike to this great city. Delta's history in Boston is a rich one, and this sponsorship gives us another opportunity to deepen our alliance with Boston's many diverse citizens. Music frees the spirit and feeds the soul, and it's Delta's privilege to be aligned with an art as powerful as Paul Matsen the music created by the BSO. On behalf of Delta's more than Senior Vice President and the for welcom- and Chief Marketing 60,000 employees, we thank Boston BSO Officer ing Delta and its passengers to your hometown. 2 EMC Corporation is pleased to contin- EMC ue our longstanding partnership with the Boston Symphony Orchestra. We where information lives are committed to helping preserve the past and present musical heritage of the BSO so that it will be available to future generations, and will continue to instill in us a love of music. Michael C. Ruettgers Chairman 64 On another note A gift is waitingfor you when you shop in our store, now through February 28. Please mention the ^ Symphony. father Goods • Fine Furnishings • Pens • Reading Tools The Prudential Center • 111 Huntington Avenue, Back Bay, Boston 617-536-3434 • Levenger.com We play to your higher aspirations . II High Style and Hoop Skirts: 1850s Fashion THROUGH MARCH 13 Woman's evening dress, United States, about 1858. Silk plain weave (taffeta), machine net (tulle) and silk bobbin lace, trimmed with silk ribbon, embroidered silk net, and silk flowers. Gift of Roald T. Lyman, 1951 Sets, Series, and Suites: Contemporary Prints JANUARY 19 THROUGH MAY 30 Exclusive hotel sponsor is the Millennium Bostonian Hotel. Media sponsor is Classical 102.5 WCRB. Terry Frost, Orchard Tambourines, 1999. Portfolio of twenty-five color woodcuts. Private collection. © The Estate of Terry Frost. Pursuits of Power: Falconry and the Samurai, 1600-1900 THROUGH JUNE 12 Goshawk Mews (detail), Edo period, 17th century. Six-panel folding screen; ink, colors, and gold on paper. Philadelphia Museum of Art: Gift of Mr. and Mrs. Douglas J. Cooper, 1978. ENTRANCE TO THESE EXHIBITIONS FREE- WITH MUSEUM ADMISSION Open 7 days a week &- This selection is only a sampling of events at the MFA. For further information on programs and exhibitions, please visit our Web site at BOSTON www.mfa.org or caii 617-267-9300. BSOvations (continued) The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the official * * *? ? COPLEY PLAZA hotel of the BSO. We look forward to many years of supporting this J wonderful organization. For more than a century Fairmont Hotels & Resorts and the BSO have graced their communities with timeless elegance and enriching experiences. The BSO is Jonathan Crellin a New England tradition and like The Fairmont Copley Plaza, General Manager a symbol of Boston's rich tradition and heritage. STEINWAY & SONS Steinway & Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard, and applauded by artists and audiences alike for their rich, It's that, for of today's Bruce Stevens expressive sound. no wonder 98% President concert pianists, the choice is Steinway. These corporations have sponsored BSO or Symphony Hall concerts and activities during the 2004-2005 season at the $75,000-$199,999 level. OMMONWEALTH WORLDWIDE S^J^S CHAUFFEURED TRANSPORTATION Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and the Boston Pops. The BSO has enhanced the Boston community for 124 years and we are excited to be a part of such a rich heritage. We look for- Dawson Rutter ward to celebrating our relationship with the BSO, Boston President and CEO Pops, and Tanglewood for many years to come. Classical 102.5 WCRB has proudly been Classical involved with the Boston Symphony Or- 102.5 WCRB chestra for over 50 years. Each week more S T N than a half-million people listen on Saturday nights as we broadcast BSO, Pops, and Tan - glewood concerts. We have been pleased to bring the perform- ances of our world-class orchestra into the homes of millions of music lovers. WCRB is the flagship station of Charles River William W. Campbell Broadcasting, CEO, Charles River which includes WFCC/Cape Cod, WCRI/Block Broadcasting Island, and the World Classical Network. 65 H 1 Support a new era at the BSO ^^^^* ^^^^^R. JBSj I.^HB> ^V^ P^ > ililli* 1 The 2004-2005 season marks the beginning to maintain the BSO's place as on| i of an exciting new era of music- of the world's leading symphonic making at the Boston Symphony organizations. ! Orchestra! This season, become a Friend of th ! James Levine, you can play an sales cover only 40 percent of the! important role in helping the BSO's costs each year. Your contri- Boston Symphony achieve new bution will support Mr. Levine's artistic heights. Now, more than artistic plans and the BSO's continj ever before, the orchestra depends uing education and community 1 on the generosity of its patrons to outreach programs. . provide critical financial support 1 '. ; -; : ;-'.. : '-:., - vi,: 'V-,- >. >';. .. 'V:' , To make a gift, call the Friends riends OF THE BOSTON SYMPHONY ORCHESTRA the BSO Office at (617) 638-927 or visit us online at www.bso BOSTON SYMPHONY ORCHESTRA 2OO4-2OO5 SEASON / BSO Consolidated Corporate Fund The support provided by members of the BSO's Consolidated Corporate Fund (formerly the Business Leadership Association) enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community out- reach programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following companies for their generous support, including gifts-in-kind. This list recognizes cumulative contributions of $2,500 or more made between September 1, 2003, and August 31, 2004. For more information, contact Jo Frances Kaplan, Director of Institutional Giving, at (617) 638-9264. Beethoven society-$500,ooo and above Anonymous Fidelity Investments UBS gold baton-$ioo,ooo to $499,999 Accenture Delta Air Lines Herald Media, Inc. William D. Green EMC Corporation Patrick J. Purcell American Airlines Michael C. Ruettgers John Hancock James K. Carter The Fairmont Copley James Benson Classical 102.5 WCRB Plaza John D. DesPrez III William W. Campbell Jonathan D. Crellin silver baton-$50,ooo to $99,999 AT&T Boston Area Kohl's Department Stores Esther Silver-Parker Mercedes-Benz Dealers Marsh USA, Inc. ATG Commonwealth John C. Smith Bank of America Worldwide Chauffeured TDK Electronics Charles K. Gifford Transportation Corporation Dawson Rutter Continued on page 69 67 -Accompaniment- As a private wealth management firm, we believe that taking a comprehensive approach to developing and implementing appropriate financial strategies for all of your assets helps you to build and maintain financial coherence. You have already succeeded in life. At Bingham Legg Advisers, we are committed to helping you build upon that success. Bingham Legg Advisers is proud to support The Boston Symphony Orchestra Edward J. Sullivan. Managing Director Bingham Legg Advisers LLC 45 Milk Street Boston, MA 02 J 09 617-457-2025 www. bmghamlegg. com BINGHAM LEGG mm ADVISERS Private Wralih Management Boston Los Angeles jNw Endand' Strmt 'Ensanhtt SUSAN DAVENNY WYNER, CONDUCTOR & MUSIC DIRECTOR Celebrating Youth Saturday, January 29, 2005 8pm Sunday, January 30, 2005 3pm Stoneham Theatre, Stoneham NEC's Jordan Hall, Boston Vivaldi Flute Concerto in D, op. 10 no. 3, "The Cardinal" Grieg Two Norwegian Dances, op. 63 Hoist Brook Green Suite Musical Heritage winners Youth Competition winners Jakoulov All at Once (2004) with Anna Myer "Anna Myer is a master weaver. . . her and Dancers (Boston Premiere) choreographic voice is quietly bizarre, but it is all her own." _New York Times 781-224-1117 www.newenglandstringensemble.org 68 BSO Consolidated Corporate Fund (continued) conductor's circle-$25,ooo to $49,999 Dick and Ann Marie IBM Parthenon Capital Connolly Sean C. Rush Ernest Jacquet Deloitte & Touche USA Liberty Mutual Group John Rutherford LLP Edmund F. Kelly State Street Corporation William K. Bade LPL Financial Services Ronald E. Logue James G. Sullivan Mark S. Casady George A. Russell, Jr. Fisher Scientific Massachusetts Cultural Toyota International Inc. Council Tim Morrison Paul M. Montrone Peter Nessen Kevin J. Flynn Goodwin Procter LLP Merrill/Daniels Verizon Regina M. Pisa Ian Levine Donna C. Cupelo Hewitt Associates Waters Corporation Jan Seeler Douglas A. Berthiaume CONCERTMASTER-$15,000 to $24,999 Advent International Connell Limited NSTAR Corporation Partnership Thomas J. May Peter A. Brooke Francis A. Doyle Nixon Peabody LLP Bartley Machine & The Egan Family Robert Adkins, Esq. Manufacturing Co., Inc. Ernst & Young LLP Craig D. Mills, Esq. Richard J. Bartley Daniel G. Kaye Deborah L. Thaxter, Esq. Bingham McCutchen LLP The Gillette Company Nortel Networks Blue Cross Blue Shield of James M. Kilts Anthony Cioffi Massachusetts Goldman, Sachs & Co. Ms. Mary Ann Pesce William C. Van Faasen Hilb, Rogal and Hobbs PricewaterhouseCoopers Cleve L. Killingsworth Insurance Agency of LLP Citizens Financial Group MA, L.L.C. Michael J. Costello Lawrence K. Fish Paul D. Bertrand Putnam Investments City Lights Electrical Hill, Holliday Charles E. Haldeman Company, Inc. John M. Connors, Jr. Raytheon Company Maryanne Cataldo Kerrygold Irish Cheeses William H. Swanson Jim and Barbara Cleary & Butter Staples, Inc. Clough Capital Partners Kirkpatrick & Lockhart Thomas G. Sternberg LP LLP Mr. Thomas G. Sternberg Charles I. Clough, Jr. Mark E. Haddad, Esq. Suffolk Construction Coldwell Banker Mintz, Levin, Cohn, Company, Inc. Residential Brokerage Ferris, Glovsky and John F. Fish Richard J. Loughlin, Jr. Popeo, PC. R. Robert Popeo, Esq Continued on page 71 69 "Lala Rokh is the ultimate expression of ourfamily's passion for Persian cuisine and the arts" — Azita Bina-S*'ibel and Babak Bina For rates and information on advertising in the "Recognized as one of Boston Symphony, Americas top tables" Boston Pops, — Gourmet Magazine and Tanglewood program books please contact: "Best Persian restaurant" — Best of Boston, Boston STEVE GANAK AD REPS 51 CHURCH STREET BOSTON, MASS. 02116 97 Mt Vernon Street / Beacon Hill / Tel. 720-551 (617) 542-6913 Life is short. Play, Restored Steinways Available A Tradition of Excellence Since 1950 Acme Piano Craftsmen Lee Doherty, President (617) 623-0600 10 Garfield Avenue, Somerville, MA 02145 wwwAcmePiano .com 70 .* l V BSO Consolidated Corporate Fund (continued) C0NCERTMASTER-$15,000 to $24,999 (continued) Thermo Electron Weil, Gotshal & Manges Yawkey Foundation II Corporation LLP John Harrington Marijn E. Dekkers James Westra Watts Water Technologies Wilmer Cutler Pickering Patrick S. O'Keefe Hale and Dorr LLP William F. Lee PRINCIPAL PLAYER-$10,000 to $14,999 Arnold Worldwide Investors Bank & Trust Perry Capital, LLC Francis J. Kelly III Company Paul A. Leff Atlantic Trust Pell Michael F. Rogers The Red Lion Inn Rudman KPMG LLP Nancy J. Fitzpatrick Jeffrey Thomas Anthony LaCava The Ritz-Carlton Hotels Jack Markwalter Loomis, Sayles & of Boston Edward I. Rudman Company, LP Erwin Schinnerl Boston Acoustics, Inc. Robert J. Blanding Mr. Thomas F. Ryan, Jr. Andrew Kotsatos Medical Information Sametz Blackstone Boston Scientific Technology, Inc. Associates Corporation A. Neil Pappalardo Roger Sametz Lawrence C. Best Mellon New England Sovereign Bank Mr. and Mrs. J. T David F. Lamere John P. Hamill Carleton Meredith & Grew, Inc. Standard & Poor's Mr. and Mrs. John M. Thomas J. Hynes, Jr. Robert L. Paglia Connors Jr. Kevin C. Phelan The Studley Press Inc. Eaton Vance Corporation Mr. and Mrs. Richard Suzanne K. Salinetti Alan R. Dynner, Esq. Monaghan TA Associates Realty Eze Castle Software, Inc. New Balance Athletic Michael A. Ruane Sean McLaughlin Shoe, Inc. Tyco Healthcare S. Four Seasons Hotel James Davis Richard J. Meelia Boston New Horizons Partners, VPNE Parking Peter O'Colmain LLC Solutions, Inc. George H. Dean Co. James L. Bildner Kevin W. Leary Kenneth Michaud Palmer & Dodge LLP WP. Stewart & Co. Gourmet Caterers, Inc. Malcolm E. Hindin Foundation, Inc. Robert Wiggins Partners HealthCare Marilyn Bres low Greater Media, Inc. System, Inc. Peter H. Smyth Continued on page 73 71 WM The World's Greatest Musicians. The World's Greatest City. The World's Finest Piano. M. Steinert & Sons salutes the Boston Symphony Orchestra artists who choose to own and perform on Steinway Pianos. James Levine Alfred Brendel Yefim Bronfman Richard Goode Stephen Hough x Evgeny Kissin Stephen Kovacevich Robert Levin Peter Serkin flW M. Steinert & Sons « « Steinway & Other Pianos Of Distinction 162 Boylston Street, Corner of Charles Street, Boston 617-426-1900 Sherwood Plaza, Route 9 East, Natick 508-655-7373 1 Gold Star Boulevard, Worcester 508-755-2506 72 ' \- i'. "•• mm BSO Consolidated Corporate Fund (continued) Anonymous (2) EDS Lippincott Mercer The Abbey Group Eastern Bank Charitable Longwood Investment Allmerica Financial Foundation Advisors Corporation/The Hanover Edwards & Angell, LLP Mr. and Mrs. Peter S. Lynch Insurance Company Exel Holdings, Inc. M/C Communications Ameresco, Inc. John F. Farrell & Associates ML Strategies, LLC Analog Devices, Inc. Filene's Margulies & Associates Aon Risk Services, Inc. of The Flatley Company Martignetti Companies Massachusetts Forbes Consulting Maxwell Shoe Company Inc. Arbella Insurance Group Group, Inc. McCusker-Gill, Inc. Worldwide BBDO Franklin Ford Mercer Human Resource B.J.'s Wholesale Club, Inc. Gadsby Hannah LLP Consulting Babson College Global Companies LLC Merrill Lynch Bain & Company, Inc. Grand Circle Corporation Millipore Foundation Beacon Capital Partners Graphics Marketing Services, Morgan Stanley Booz Allen Hamilton Inc. Navigator Management Co., Boston Capital Corporation HSBC Securities USA Inc. L.P. The Boston Consulting Group The Halleran Company, LLC New England Business The Boston Globe Helix Technology Service, Inc. Boston Properties, Inc. Corporation New England Cable News Boston Red Sox Hines New England Development Boston Showcase Co. Mr. Albert A. Holman III New England Insulation Boston Stock Exchange Hurley Wire and Cable Company Cabot Corporation Huron Consulting Group New England Patriots Carruth Capital, LLC Initial Tropical Plants Mr. and Mrs. Joseph E. Charles River Intelligent Systems & Norberg Laboratories, Inc. Controls Contractors, Inc. Norman Knight Charitable Choate, Hall & Stewart JPMorgan Chase Foundation Christmas Tree Shops Jack Madden Ford Sales, Joseph and Joan Patton Citigroup Global Corporate Inc. PerkinElmer, Inc. and Investment Bank Jack Morton Worldwide Porter Novelli City Lights/Tri-State Signal Jay Cashman Inc. Reebok International, Ltd. Clair Automotive Network Johnson O'Hare Company Thomas A. Russo Clean Harbors Mr. Gerald R. Jordan Jr. S.R. Weiner & Associates Environmental Services, Kaufman and Company, LLC Savings Bank Life Insurance Inc. Keane, Inc. The Schawbel Corporation John M. Corcoran & Co. KeySpan Energy Delivery Skadden, Arps, Slate, John and Diddy Cullinane New England Meagher & Flom LLP Joan and Ted Cutler Mr. and Mrs. Harvey Chet State Street Development The Davis Companies Krentzman Management Corp. Bob and Rita Davis Legal Sea Foods Stonegate Group Duane Morris LLP Lehman Brothers TEKsystems, Inc Dunkin' Donuts, Baskin Lexington Insurance The TJX Companies, Inc. Robbins & Togo's Company Towers Perrin Continued on page 75 73 wm m Listening to Girls Each year thousands of people come to Tae Kwon Do. They write short stories, con- the symphony to listen. They come to duct complex scientific experiments, build hear the orchestra fill this hall with the software programs, and plan study-abroad world's most glorious music. To be still and trips. They look forward to college as a place to listen—that is a powerful thing. This hall, to learn and gain new levels of competence. after all, is conducive to the pleasures of lis- In the quiet, girls acquire confidence and tening. Elsewhere, to turn off the din and strength. They begin to dream big dreams. truly listen—well, that is more of a challenge. Listen to what girls in girls' schools say. Listen The voices of girls are especially hard to to the ideas they have for history projects. hear, particularly through the cacophony of Listen to their opinions on computer game what our culture is saying to them. Here's violence, or censorship, or biotechnology. what to wear, here's how to look, here's how Listen to how they discuss art and music and you should think. Don't ask too many ques- politics. It is amazing what girls can do when tions. Don't talk back. Your appearance is we respect their opinions. They will organize more important than your programming community service projects and learn new skills and your writing. Choose your college languages. They will publish magazines and based on your boyfriend. start businesses. Look at the machines they build. Look at the presentations they put What do girls themselves have to say? together. Listen to the music they compose. Younger girls, before they reach adolescence, They will, in the quiet, learn to excel. typically have a lot to say. They know what they want. Their voices are clear. But as girls We listen to girls at Miss Hall's School enter their teens, we hear them less clearly. We turn down the noise and listen. In this Often their voices grow smaller as they try to space apart, we give girls the opportunity to make sense of the world and discover the be heard, to be leaders, to develop their true girl inside. Sometimes their voices own voices, their own ideas, their own change—and we no longer recognize them. visions of who they want to be. And sud- But when we create some quiet, girls' voices denly it's not so quiet anymore but filled grow stronger. In a girls' school, girls become with the joyful music of young women adventurous. They take up rock climbing and becoming themselves. MISS HALL'S SCHOOL 492 Holmes Road, Pittsfield, MA 01201 • (800) 233-5614 • Fax (413) 448-2994 • www.misshalls.org GIRLS' SECONDARY BOARDING AND DAY SCHOOL FOUNDED IN 1898 74 BSO Consolidated Corporate Fund (continued) PATR0N-$5,000 to $9,999 (continued) Trammell Crow Company W.R. Grace & Company Weston Presidio United Liquors Ltd. D.K. Webster Family William Gallagher Associates WBZ-TV/WSBK-TV/ Foundation Woburn Foreign Motors WLWC-TV fellow-$3,500 to $4,999 Bicon Dental Implants The E.B. Horn Co. Lindenmeyr Munroe Blake & Blake Harvey Industries, Inc. Rodman Ford Lincoln Genealogists, Inc. J.D.P. Co. Mercury Chubb Group of Insurance J.N. Phillips Auto Glass Co. United Gulf Companies Inc. Management, Inc. Cummings Properties, LLC Janney Montgomery Scott WHDH-TV, 7NEWS Cypress Capital Management, LLC MEMBER-$2,500 to $3,499 The Baupost Group, LLC Jonathan and Seana Crellin The New England The Bildner Family Deutsche Bank Foundation Foundation Securities Inc. Nordblom Company The Biltrite Corporation DiSanto Design O'Neill & Associates, LLC Biogen Idee Foundation Essex Investment Phelps Industries LLC Boston Concessions Management Co. LLC Pro Media, Inc. Group, Inc. The John & Happy White SCS Financial Cambridge Trust Company Foundation WCVB-TV, Channel 5 Carson Limited Partnership The Lenox Hotel/Saunders Winston Flowers ControlAir, Inc. Hotel Group 75 f i?y NEXT PROGRAM... Thursday, January 27, at 10:30 a.m. Pre- Concert Talks by (Open Rehearsal) Robert Kirzinger, BSO Thursday, January 27, at 8 Publications Associate Friday, January 28, at 8 Saturday, January 29, at 8 Tuesday, February 1, at 8 DAVID ZINMAN conducting GANDOLFI Impressions from "The Garden of Cosmic Speculation" (2004) I. Introduction: The Zeroroom II. Soliton Waves III. The Snail and the Poetics of Going Slow IV. The Nonsense BART6K Piano Concerto No. 3 Allegretto Adagio religioso Allegro vivace RICHARD GOODE INTERMISSION MUSSORGSKY/ Pictures at an Exhibition RAVEL Promenade Gnomus Promenade II vecchio castello Promenade — Tuileries Bydlo Promenade — Ballet of Chicks in their Shells Samuel Goldenberg and Schmuyle The Market at Limoges Catacombae. Sepulcrum Romanum Con mortuis in lingua mortua The Hut on Chicken Legs (Baba-Yaga) The Great Gate of Kiev Having fled the rise of the Nazis, Bartok wrote his brilliant, tuneful Third Piano Concerto for his wife to perform following their permanent move to the United States. It was one of the Hungarian composer's last works, its final seventeen bars being left unfinished at his death in 1945. Boston-based composer Michael Gan- dolfi's new work, commissioned for the Tanglewood Music Center and premiered at Tanglewood in August 2004, was inspired by a recently completed thirty-acre Scottish garden designed by architect Charles Jencks. In Mussorgsky's popular Pictures at an Exhibition, each movement is the composer's reaction to a different fantastical painting by an artist friend. Ravel's famously colorful orchestration, com- missioned by the legendary BSO conductor Serge Koussevitzky, dates from 1922. 76 I^M'BBSMSSf Wykttj COMING CONCERTS . . . PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals, including the remaining non-orchestral concert in the James Levine Series on Wednesday, April 27. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, at 1:45 p.m. prior to Sunday-afternoon concerts, and one hour before the start of each Open Rehearsal. PLEASE NOTE that the starting time for the evening and Sunday-afternoon talks has been changed to allow the musicians more time to warm up on stage prior to the concerts. We appreciate your understanding in this matter. Thursday, January 27, at 10:30 a.m. Thursday, February 10, at 10:30 a.m. (Open Rehearsal) (Open Rehearsal) Thursday 'B'—January 27, 8-10 Thursday 'C—February 10, 8-9:50 Friday Evening—January 28, 8-10 Friday 'B'—February 11, 1:30-3:20 Saturday 'B'—January 29, 8-10 Saturday 'A—February 12, 8-9:50 Tuesday 'C—February 1, 8-10 RAFAEL FRUHBECK DE BURGOS, DAVID ZINMAN, conductor conductor RICHARD GOODE, piano STEVEN ISSERLIS, cello STEVEN ANSELL, viola GANDOLFI Impressions from "The AWET ANDEMICAEL, soprano (The Boy) Garden of Cosmic Speculation" PETER BRONDER, tenor (Master Peter) BART6K Piano Concerto No. 3 JONATHAN LEMALU, baritone (Don Quixote) MUSSORGSKY/ Pictures at an Exhibition RAVEL BOB BROWN PUPPETS FALLA Master Peters Puppet Thursday, February 3, at 10:30 a.m. Show (Open Rehearsal) STRAUSS Don Quixote Thursday ' A—February 3, 8-10 Friday 'A—February 4, 1:30-3:30 Programs and artists subject to change. Saturday 'A'—February 5, 8-10 Tuesday 'B'—February 8, 8-10 RAFAEL FRUHBECK DE BURGOS, conductor TANGLEWOOD FESTIVAL CHORUS, massculturalcouncil.or JOHN OLIVER, conductor ALL- Nanie, Gesang der BRAHMS Parzen, and Schick- PROGRAM salslied, for chorus and orchestra Symphony No. 1 Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5 handling fee for each ticket ordered by phone or over the internet. 77 SYMPHONY HALL EXIT PLAN MASSACHUSETTS AVENUE n > oo o -rr-£ ? h A 1ST BALCONY 03 > > I AND S £ 2ND BALCONY o S Z v) O o 2 MASSACHUSETTS AVENUE IN CASE OF AN EMERGENCY Follow any lighted exit sign to street. Do not use elevators. Walk don't run. 78 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 performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. THE BSO'S WEB SITE (www.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 announce- ment 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) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115. THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able 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 "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (or until 2 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 $5 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. FOR PATRONS WITH DISABILITIES, an access service center, large print programs, acces- sible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony Hall on Huntington Avenue. 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 program pieces in order not to disturb other patrons. IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er 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 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 at- tend 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 8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings. 79 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 switchboard near the Massachu- setts Avenue entrance. PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing. MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons. LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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. BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM. BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 a.m. and 5 p.m., (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. In- cluding your patron number will assure a quick and accurate change of address in our files. BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pro- gram book, access to the Beranek Room reception lounge, and priority ticket service. For fur- ther information, please call the Corporate Programs Office at (617) 638-9466. THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon .„ until 6 p.m.; from one hour before each concert through intermission, and for up to thirty minutes after each concert. The Symphony Shop features exclusive BSO merchandise, in- cluding 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 during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orches- tra. For further information and telephone orders, please call (617) 638-9383. 80 ™ • f . / ; '&k H'j Ml PNh£9 lou'd be surprised what we're up to. Mention the name Bose®and peo- ple usually think of home audio products, like our world-renowned Wgaffli Wave® radio. After all, home audio $&**&* is where we first earned our reputa- i. \ tion as the most respected name in sound. Today we create premium audio systems for everything from luxury automobiles to retail stores to aircraft and even the space shuttle. So the next time you're impressed by a sound system, look for the Bose logo. You may be surprised what we're up to. To learn more about Bose and Bose "Bosg breaks tine mold ... Who said products, visit us on the Web at terican companies can't innovate?" — www.bose.com/cm - Rich Warren Or call us at 1-800 -444 -BOSE. p2001 Bose Corporation. JN20417 - -V/AV Rich Warren, Chicago Tribune, 6/1/90. Better sound through research^ THE WALTER PISTON SOCIETY i <4| $ 4 V m i / * 1 ^H J& 5vW*J y <2 legacy of giving anna finnerty, who loved having tea with the development staff, left this cup and saucer as a reminder of how much she enjoyed volunteering at Symphony Hall. One day, after giving her time stuffing envelopes, Miss Finnerty asked how she could leave a gift to the BSO in her will, thereby becoming a Walter Piston Society Member. She was told to add the wording, "I hereby bequeath the sum of $ to the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, tax ID #04-2103550." She certainly followed up on those instructions. After her death, Miss Finnerty 's estate gave the BSO more than $1 million to endow the Assistant Conductor chair in perpetuity. If you would like to talk with one of our professional develop- ment officers about leaving your legacy at the Symphony, please call (617) 638-9252 or e-mail [email protected]. You may be assured of complete confidentiality. C-Ai PAPA DlAiVIDi IDS * I'll IE PEEIDD JEWELIA -> LOOSE COEOEEESS DlAMOV. 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