bernard haitink conductor emeritus seiji ozawa music director laureate

2013–2014 Season | Week 22

andris nelsons music director designate

season sponsors

Table of Contents | Week 22

7 bso news 17 on display in symphony hall 18 the boston symphony orchestra 20 announcing the bso’s 2014-15 season 23 a brief history of the boston symphony orchestra 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Ralph Vaughan Williams 39 Sergei Prokofiev 45 Nikolai Rimsky-Korsakov 51 To Read and Hear More…

Guest Artists

55 Sir Andrew Davis 57 Yuja Wang

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

the friday preview talk on march 28 is given by harlow robinson of northeastern university.

program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover design by BSO Marketing cover photo of BSO bass player Todd Seeber by Stu Rosner

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

andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

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

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

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

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

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

week 22 trustees and overseers 3

photos by Michael J. Lutch

Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 22 trustees and overseers 5

BSO News

“Do You Hear What I Hear?”: A Series of New, Composer-Curated Prelude Concerts This season, in conjunction with its performances of the newly commissioned works from Mark-Anthony Turnage in October, Marc Neikrug in November, and Bernard Rands in April, the BSO has teamed up with the New England Conservatory in creating Prelude Chamber Concerts curated by the composers themselves, to offer an intimate and revealing window into how these composers listen to music, and how what they hear informs their own com- positional process. The concerts are prepared and presented by student artists at NEC, with each composer offering commentary on the chosen works. The last of these concerts, curated by Bernard Rands and with BSO Assistant Director of Program Publications Robert Kirzinger as moderator, is scheduled for Thursday, April 3, at 6 p.m. in NEC’s Williams Hall prior to the BSO’s world premiere that night of Rands’s Concerto for Piano and Orchestra. The program includes music of Bernard Rands, Luciano Berio, Luigi Dallapiccola, and Yehudi Wyner. For further information, please visit bso.org, where “Do you hear what I hear?” can be found in the “Adult Education” listings under the “Education & Community” tab on the home page.

Boston Symphony Chamber Players 50th Anniversary Season Continues, Sunday, April 6, at 3 p.m. at Jordan Hall Founded in 1964, the Boston Symphony Chamber Players perform the final Jordan Hall concert of their 50th Anniversary Season on Sunday afternoon, April 6, at 3 p.m. at the New England Conservatory. The program includes Milhaud’s Suite après Corrette, for oboe, clarinet, and bassoon; Schubert’s Octet in F for winds and strings, D.803; and the Boston premiere of Sebastian Currier’s Parallel Worlds for flute and string quartet, a BSO co- commission. Single tickets are available through SymphonyCharge at (617) 266-1200, at the Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

BSO Community Chamber Concerts The BSO is happy to continue offering free Community Chamber Concerts in locations across Massachusetts during the 2013-14 season. These Sunday-afternoon concerts offer engaging chamber music performances by BSO musicians for communities limited in access to the BSO by either distance or economics; they are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the BSO. Each program lasts approximately one hour and is

week 22 bso news 7 followed by a coffee-and-dessert reception for the audience and musicians. On Sunday, April 6, at the Colonial Theater in Pittsfield, for this season’s remaining Community Concert, a brass quintet made up of BSO members Benjamin Wright, Michael Martin, Jason Snider, Stephen Lange, and James Markey plays music of Bach, Hindemith, Albinoni, Martin, and Arnold. This concert is free, but tickets are required and available by calling Symphony- Charge at 1-888-266-1200. The BSO’s free Community Concerts are made possible in part by a generous grant from the Lowell Institute.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. This season’s remaining “Are You Listening?” session is scheduled for Wednesday, April 9, when BSO Director of Program Publications Marc Mandel discusses “Symphonic Stances” in music of Berlioz, Tchaikovsky, Mahler, and Stravinsky, with special guest BSO associate principal bassoon Richard Ranti. These sessions take place from 5:30-6:45 p.m. at Symphony Hall, and each is followed by a reception offering beverages and a light meal. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. For further information, please visit bso.org, where “BSO 101” can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on March 28 is given by Harlow Robinson of Northeastern University. The season’s remaining Friday Previews will be given by Robert Kirzinger on April 4, and by Marc Mandel on April 11 and April 25.

week 22 bso news 9 individual tickets are on sale for all concerts in the bso’s 2013-2014 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

Go Behind the Scenes: (April 9). For more information, please visit The Irving W. and Charlotte F. Rabb bso.org/tours. All tours begin in the Massa- Symphony Hall Tours chusetts Avenue lobby of Symphony Hall. Special private tours for groups of ten guests The Irving W. and Charlotte F. Rabb Symphony or more—free for Boston-area elementary Hall Tours provide a rare opportunity to go schools, high schools, and youth/education behind the scenes at Symphony Hall. In these community groups—can be scheduled in free, guided tours offered throughout the advance (the BSO’s schedule permitting). season by the Boston Symphony Association Make your individual or group tour reserva- of Volunteers, experienced volunteer guides tions today by visiting bso.org/tours, by discuss the history and traditions of the BSO contacting the BSAV office at (617) 638- and its world-famous home as they lead 9390, or by e-mailing [email protected]. James participants through public and selected and Melinda Rabb and Betty (Rabb) and Jack “behind-the-scenes” areas of the building. Schafer made a gift in memory of their par- Free walk-up tours lasting approximately ents Irving and Charlotte Rabb as a way to one hour take place in March and April at memorialize their more than sixty years of 4 p.m. on six Wednesdays (March 5, 12, 19; loyal devotion to the Symphony and their April 2, 9, 30), at 2 p.m. on three Saturdays passion for introducing Symphony Hall to (March 8; April 5, 19), and at 6:45 p.m. after the community. the remaining Wednesday BSO 101 session

BSO Archives Spotlight: A Closer Look Though you’re probably aware of the various display cases of archival material to be found throughout Symphony Hall, the BSO Archives would like to draw your attention to some of the fascinating artifacts that may have escaped your notice. Anticipating this month’s all-Beethoven concerts, the Archives has mounted a display of memorabilia, located in the first-balcony, audience-left corridor, relevant to past BSO performances of the Beethoven concertos, particularly the piano concertos. Among the noted artists of the past who performed Beethoven piano concertos with the orchestra are Adele aus der Ohe, Amy Beach, Ferruccio Busoni, Teresa Carreño, and Ignace Jan Paderewski. In the second half of the 20th century, both Arthur Rubinstein, in the 1960s under Erich Leinsdorf, and Rudolf Serkin, in the 1980s under Seiji Ozawa, recorded all five of the piano concertos. The image shows the cover of Beethoven’s Piano Concerto No. 5, Emperor, as recorded by Seiji Ozawa, Rudolf Serkin, and the BSO for Telarc in January 1981.

week 22 bso news 11

Friday-afternoon Bus Service to BSO Members in Concert Symphony Hall In residence at Boston University, the Muir If you’re tired of fighting traffic and search- String Quartet—BSO violinist Lucia Lin and ing for a parking space when you come to BSO principal violist Steven Ansell, violinist Friday-afternoon Boston Symphony concerts, Peter Zazofsky, and cellist Michael Reynolds— why not consider taking the bus from your joins fellow artist-in-residence, distinguished community directly to Symphony Hall? The composer Joan Tower, for a “Portrait Concert” Boston Symphony Orchestra is pleased to on Friday, March 28, at 8 p.m. at BU’s College continue offering round-trip bus service on of Fine Arts Concert Hall, 855 Commonwealth Friday afternoons at cost from the following Avenue. The program includes Tower’s most communities: Beverly, Canton, Cape Cod, recent string quartet, Whitewater, the flute Concord, Framingham, Marblehead/Swamp- quintet Rising, her piano quartet, and String scott, Wellesley, Weston, the South Shore, Force for solo violin. Admission is free. and Worcester in Massachusetts; Nashua, Founded by BSO cellist Jonathan Miller, the New Hampshire; and Rhode Island. Taking Boston Artists Ensemble performs Brahms’s advantage of your area’s bus service not only Clarinet Trio in A minor, Opus 114, Kurtág’s helps keep this convenient service operating, For Steven: In Memoriam Pauline Mara, and but also provides opportunities to spend Dvoˇrák’s Piano Quintet in A, Opus 81, on time with your Symphony friends, meet new Friday, March 28, at 8 p.m. at the Peabody people, and conserve energy. If you would Essex Museum in Salem, and on Sunday, like further information about bus transporta- March 30, at 2:30 p.m. at Trinity Church in tion to Friday-afternoon Boston Symphony Newton Centre. Joining Mr. Miller are BSO concerts, please call the Subscription Office colleagues Julianne Lee, violin, and Thomas at (617) 266-7575. Martin, clarinet, as well as violinist David

week 22 bso news 13 14 Coucheron and pianist Randall Hodgkinson. Lachrymae, and Milhaud’s La Création du Tickets, available at the door, are $27 (dis- monde. Tickets are $20 for adults, $10 for counts for seniors and students). For more students, free for children under twelve. For information, visit bostonartistsensemble.org more information, call (617) 871-9WCP or or call (617) 964-6553. e-mail [email protected]. Collage New Music, founded by former BSO percussionist Frank Epstein and whose mem- Those Electronic Devices… bers include former BSO cellist Joel Moerschel As the presence of smartphones, tablets, and and current BSO violinist Catherine French, other electronic devices used for communica- closes its season with a program entitled tion, note-taking, and photography continues “Double or Nothin’” on Sunday, April 13, at to increase, there have also been increased 8 p.m., at Edward Pickman Hall at the Longy expressions of concern from concertgoers School of Music, 27 Garden Street, Cambridge. and musicians who find themselves distracted The program includes Arthur Levering’s Still not only by the illuminated screens on these Raining, Still Dreaming, the world premiere of devices, but also by the physical movements a new work by Stephanie Ann Boyd, Ross that accompany their use. For this reason, Bauer’s Implicit Memory, and Steve Reich’s and as a courtesy both to those on stage and Double Sextet. General admission is $15 ($10 those around you, we respectfully request for seniors, free for students). For more infor- that all such electronic devices be turned mation, visit collagenewmusic.org or call off and kept from view while BSO perform- (513) 260-3247. ances are in progress. In addition, please In residence at Boston University, the Muir also keep in mind that taking pictures of the String Quartet—BSO violinist Lucia Lin and orchestra—whether photographs or videos— BSO principal violist Steven Ansell, violinist is prohibited during concerts. Thank you very Peter Zazofsky, and cellist Michael Reynolds— much for your cooperation. performs Schubert’s String Quartet No. 14 in D minor, Death and the Maiden, and Schoen- berg’s Verklärte Nacht on Tuesday, April 15, at Comings and Goings... 8 p.m. at BU’s Tsai Performance Center, 685 Please note that latecomers will be seated Commonwealth Avenue. Admission is free. by the patron service staff during the first The Walden Chamber Players, whose mem- convenient pause in the program. In addition, bership includes BSO musicians Tatiana please also note that patrons who leave the Dimitriades and Alexander Velinzon, violins, hall during the performance will not be and Richard Ranti, bassoon, perform a pro- allowed to reenter until the next convenient gram entitled “Music of Hope and Despair” pause in the program, so as not to disturb the on Sunday, April 27, at 4 p.m. at Wilson performers or other audience members while Chapel, 210 Herrick Road, Newton Centre. the concert is in progress. We thank you for The program includes Messiaen’s Quartet your cooperation in this matter. for the End of Time, Pärt’s Fratres, Britten’s

week 22 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 22 on display 17 Boston Symphony Orchestra 2013–2014

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

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

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

week 22 boston symphony orchestra 19 Announcing the BSO’s 2014-15 Season: Andris Nelsons’ Inaugural Season as Music Director

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

In November, for his second group of programs, Maestro Nelsons joins forces with several longtime collaborators for music with a Scandinavian and Slavic accent, including works of Sibelius, Tchaikovsky, and Rachmaninoff, plus the world premiere of a BSO commission for chorus and orchestra from the conductor’s compatriot, Latvian composer Eriks¯ Ešenvalds. The young Latvian violinist Baiba Skride is soloist in Sofia Gubaidulina’s compelling Offertorium for violin and orchestra; Swedish trumpeter Håkan Hardenberger Kristīne Opolais is soloist in the American premiere of Australian composer Brett Dean’s Dramatis personae; and Yo-Yo Ma plays Prokofiev’s Symphony-Concerto for cello and orchestra. The Tanglewood Festival Chorus is featured in the new Ešenvalds work, as well as in the Boston premiere of John Harbison’s Koussevitzky Said:, and in Rachmaninoff’s The Bells, which also introduces three debuting vocal soloists to BSO audiences.

When he returns in January for two programs, Maestro Nelsons focuses exclusively on Classical and Romantic repertoire, leading Brahms’s Variations on a Theme by Haydn, Haydn’s rarely heard Symphony No. 90, Strauss’s fantastical Don Quixote with the young French cellist Gautier Capuçon and BSO principal violist Steven Baiba Skride Ansell, Mozart’s probing C minor piano concerto, K.491, with the exciting German pianist Lars Vogt, and Bruckner’s resounding Symphony No. 7.

For the final, wide-ranging concerts of his first season as BSO Music Director, Andris Nelsons leads three programs encompassing an impressive mix of repertoire and guest artists. Four major orchestral works—powerful sym- phonies by Mahler and Shostakovich; the Boston premiere of Gunther Schuller’s Dreamscape, commissioned originally for the Tanglewood Music Center Orchestra; and a beloved orchestral showpiece, Strauss’s Ein Jonas Kaufmann Heldenleben—are juxtaposed with performances by three returning guest artists: organist Olivier Latry, in the world premiere of a concerto commissioned from American composer Michael Gandolfi, to showcase Symphony Hall’s spectacular Aeolian-

20 Skinner organ; violinist Christian Tetzlaff, in Beethoven’s Violin Concerto; and pianist Richard Goode, in Mozart’s elegant B-flat piano concerto, K.595, his final work in the genre.

In addition to the programs led by Andris Nelsons, the 2014-15 BSO season also boasts an illustrious schedule of guest artists, the debut of several prominent vocalists new to BSO audiences, and two-week residencies by such conducting luminaries as Christoph von Dohnányi, Charles Dutoit, Rafael Frühbeck de Burgos, and BSO Conductor Emeritus Bernard Haitink.

The season opens on September 18 with BSO Associate Conductor Marcelo Lehninger leading Beethoven’s Fifth Symphony, Mozart’s rarely heard Sinfonia concertante for winds with BSO principals John Ferrillo, William R. Hudgins, Richard Svoboda, and James Sommerville, and Heitor Villa-Lobos’s Bachianas brasileiras Mariusz Kwiecien No. 5 for soprano and cellos with American soprano Nicole Cabell. Other major works in 2014-15 include the first-ever BSO performances of Szymanowski’s moving opera King Roger with Polish baritone Mariusz Kwiecien making his subscription series debut in the title role, with Charles Dutoit conducting; Brahms’s A German Requiem under Frühbeck with bass-baritone Bryn Terfel and soprano Rosemary Joshua in her BSO debut; Mozart’s last three sym- phonies led by Christoph von Dohnányi in a single program; and Stravinsky’s complete Firebird with the charismatic Vladimir Jurowski, who also leads the American premiere of a new work by Harrison Birtwistle with the brilliant Maria João Pires French pianist Pierre-Laurent Aimard as soloist.

Acclaimed young Russian conductor Tugan Sokhiev makes his BSO debut with music of Berlioz, Saint-Saëns, and Rimsky-Korsakov; pianist Christian Zacharias returns in the dual role of conductor-soloist, as does violinist Leonidas Kavakos; Israeli conductor Asher Fisch, in his BSO subscription series debut, introduces music by the Israeli composer Avner Dorman; and Stéphane Denève returns for a colorful program of music by Stravinsky, Milhaud, and Poulenc.

Other instrumentalists include pianists Emanuel Ax, Rudolf Buchbinder, Maria João Pires, and Jean-Yves Thibaudet; violinists James Ehnes, Julia Fischer, Julian Rachlin, Bryn Terfel and Frank Peter Zimmermann, and cellist Johannes Moser in his BSO debut. Other vocalists include soprano Olga Pasichnyk, mezzo-soprano Yvonne Naef, tenors Edgaras Montvidas and Alex Richardson, and bass Raymond Aceto, all in Szymanowski’s King Roger. In addition to their appear- ances with Andris Nelsons, the Tanglewood Festival Chorus is featured in Brahms’s A German Requiem and Szymanowski’s King Roger.

Subscriptions for the BSO’s 2014-15 season are available by calling the BSO Julia Fischer Subscription Office at 1-888-266-7575, or online at bso.org/subscriptions. Single tickets will go on sale Monday, August 4, at 10 a.m., available by phone through SymphonyCharge at (617) 266-1200 or 1-888-266-1200; online at bso.org, or in person at the Symphony Hall box office. Please note that there is a $6.25 service fee for all tickets purchased online or through SymphonyCharge.

week 22 2014-15 season 21

S Archives BSO

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

A Brief History of the BSO

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert perform- ances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important train- ing grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO con- certs were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

week 22 a brief history of the bso 23 24 revered concert halls, opened on October 15, 1900. Henschel was S Archives BSO succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

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

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In Archives BSO 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named prin- cipal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

week 22 a brief history of the bso 25

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that includ- ed works newly commissioned for the orchestra’s 125th anniversary, particularly from sig- nificant American composers; issued a number

S Archives BSO of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra contin- ues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offer- ings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever- changing, 21st-century world.

week 22 a brief history of the bso 27 andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 133rd season, 2013–2014

Thursday, March 27, 8pm Friday, March 28, 1:30pm | the norman v. and ellen b. ballou memorial concert Saturday, March 29, 8pm

sir andrew davis conducting

vaughan williams symphony no. 6 in e minor Allegro Moderato Scherzo: Allegro vivace Epilogue: Moderato

{intermission} ee Vanderwarker Peter

From the BSO library in Symphony Hall

28 prokofiev piano concerto no. 2 in g minor, opus 16 Andantino—Allegretto—Andantino Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso yuja wang rimsky-korsakov “capriccio espagnol,” opus 34 Alborada Variations Alborada Scene and Gypsy Song Fandango asturiano

saturday evening’s performance of prokofiev’s piano concerto no. 2 is supported by a gift from dr. and mrs. irving h. plotkin.

bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

The Thursday and Saturday concerts will end about 9:50, the Friday concert about 3:20. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 22 program 29 The Program in Brief...

Ralph Vaughan Williams began his Sixth Symphony, one of his most powerful, intense pieces, toward the end of World War II, a couple of years after he had turned seventy. The symphony was a marked contrast to the consolatory Fifth, and many in the Sixth’s first audience at its 1948 premiere assumed it was a reaction to the war. The composer himself, though, denied any such extramusical intent. After all, the Fourth Symphony, composed in the 1930s, had been just as dark and powerful. Throughout his life Vaughan Williams had shown his ability to write a range of different kinds of music, but it’s his early, consummately English pieces—the Fantasia on a Theme of Thomas Tallis and The Lark Ascending for accompanied solo violin—that are his most familiar.

The Sixth Symphony is a vivid and dynamic large-scale work in four movements, played without pause. The first movement is a constantly developing Allegro; the Moderato sec- ond features a pervasive, insistent rhythm that pushes to a devastating climax, which dies away to a solo English horn. The third movement is a brief, aggressive scherzo with solos for the tenor saxophone, an orchestral rarity. Rather than an affirmative, fast finale, the symphony ends with a quiet, questioning movement. The composer said later that he thought of this movement less as enervated than as dreamlike, quoting Shakespeare: “We are such stuff as dreams are made on, and our little life is rounded with a sleep.”

A hundred years after its premiere performance with its twenty-two-year-old composer as soloist, Prokofiev’s Piano Concerto No. 2 maintains its reputation as one of the most formidably difficult concertos in the repertoire. Along with his other works of the period, it demonstrated his ambition to make his mark as a firebrand, as well as showcasing his skills as a pianist. Prokofiev’s compositional voice is wholly present in this four-movement work: lyricism with surprising harmonic side-steps, brilliantly sparkling motoric passages, and a quirky sense of play. Passages in the concerto are readily identifiable with the com- poser’s voice in such works as the ballet Romeo and Juliet or the children’s piece Peter and the Wolf, both composed much later, in the 1930s.

Closing these concerts is Nikolai Rimsky-Korsakov’s Capriccio espagnol, a romantic and scintillating homage to the music of Spain. Rimsky—famously one of the most imaginative orchestrators in music history and a strong influence for Prokofiev—wrote this five- movement suite in 1887, and it became one of his most enduring works. The fanfare-like opening, Alborada, is a festive dance from Asturias; its music returns with different orchestral details, as in the third movement, and again at the end of the entire piece to provide a sense of continuity. The second movement, Variations, is a slow study in instrumental colors, as is the fourth, Scene and Gypsy Song, which successively features cadenzas for trumpets, violin, flute, clarinet, and harp. This serves as an introduction to the exciting finale, the Asturian Fandango.

Robert Kirzinger

30 Ralph Vaughan Williams Symphony No. 6 in E minor

RALPH VAUGHAN WILLIAMS was born in Down Ampney, Gloucestershire, England, on October 12, 1872, and died in London on August 26, 1958. He began his Sixth Symphony in 1944, finished it in 1947, and it was first performed on April 21, 1948, in the Royal Albert Hall, London, by the BBC Symphony Orchestra conducted by Sir Adrian Boult.

THE SCORE OF THE SYMPHONY calls for two flutes and piccolo, two oboes and English horn, two clarinets, tenor saxophone (doubling bass clarinet), two bassoons and contrabassoon, four horns, three trumpets (fourth trumpet ad lib.), three trombones, tuba, timpani, snare drum, bass drum, triangle, cymbals, xylophone, harp (doubled if possible), and strings.

Trained at the Royal College of Music, London, Ralph Vaughan Williams pursued the career that was expected of a composer in late Victorian England, with a heavy emphasis on choral music, a proper devotion to symphonic writing, and a healthy disdain for opera. As the years went by, he came to regard opera, or at least the stage, with a much more open mind, and his love of folk song injected a fresh stream of ideas into his work. But his main creative outlets would remain choral music and symphonies throughout his long life. Indeed his first symphony, the Sea Symphony, completed in 1909, was a large-scale choral setting of Walt Whitman’s poetry. Vaughan Williams liked literary and pictorial allusions of various kinds, without ever giving too much away. The Second Symphony was about London, based on H.G. Wells; the Third Symphony was the Pastoral, completed in 1921. The Fourth, unnamed, was a ferociously dissonant and uncomfortable work in F minor, which was regarded, in 1934, as a sign of Vaughan Williams’s incorrigible bad manners; the Fifth, of 1943, is a meditation on pastoral and religious themes with a pro- found sense of peace and transcendence. Many regarded that symphony as a swan song, the work of a seventy-year-old master making his peace with his maker and saying farewell to a troubled world.

Few could have guessed that five years later, in April 1948, his Sixth Symphony would

week 22 program notes 31 Program page for the first Boston Symphony Orchestra performance of Vaughan Williams’s Symphony No. 6—the American premiere—on August 7, 1948, at Tanglewood with Serge Koussevitzky conducting (BSO Archives)

32 spring forth with such a powerful impact, exceeding even the sense of shock that had greeted the alarming Fourth Symphony. Some (though never the composer himself) saw the symphony as a commentary on the tumultuous decade in which it was composed; everyone was stirred by its forceful energy, its sense of menace, and the desolation of the final pages. It was immediately successful, being given more than a hundred per- formances worldwide within two years. Now in his early seventies, Vaughan Williams was drawing on new sources of energy and imagination, still teasing his audiences into guessing at hidden programs he would never reveal. His own program note for the sym- phony is a dry account of movements, tempos, and themes, with an occasional chuckle of amusement at his own ingenuity: not a word about war or conflict or fate or death. He had to write a letter to the Times to protest when a review of a concert described it as his “War Symphony.” Some critics wanted to believe that the bleak final movement was

week 22 program notes 33 34 Ralph Vaughan Williams c.1942, with Foxy, one of his favorite cats

supposed to evoke a world devastated by nuclear conflict. “It never seems to occur to people,” he wrote to a friend, “that a man might just want to write a piece of music.” Toward the end of his life he let slip a trace of a hint as to the significance of the last movement when he confided to his biographer Michael Kennedy that he had in mind Prospero’s words from The Tempest: We are such stuff As dreams are made on; and our little life Is rounded with a sleep.

In his Third Symphony Vaughan Williams had introduced snatches of military bugle calls as he remembered them from his experiences in World War I. The much more threaten- ing presence of trumpets and snare drum in the second movement of the Sixth is a reminder of all battlefields and all wars, not just the one from which his beloved England had just emerged triumphant but devastated. It was also a tribute to a similar evocation of war at the opening of his friend Gustav Holst’s Planets. The fading ending of Neptune in that work lies behind Vaughan Williams’s similar—but much more pessimistic—close to the Sixth Symphony.

The first movement opens in unmistakable conflict with its violent clash of adjacent minor keys: F minor hammered out in the opening three notes, then E minor thrust in beneath it, like a dagger to the stomach. These warring neighbors make appearances throughout the movement in different disguises. But lest anyone should think the sym- phony offers no glimmer of joy, no light in a darkened world, the work’s lighter moments should not be overlooked. A galumphing rhythm has its humorous side, since it never quite fits the neat tune (on three trumpets) that introduces a new section in which the

week 22 program notes 35 tenor saxophone is prominent. A third tune, in the first violins, offers calm, even serenity. The skill with which the composer packages these diverse elements into a strong sym- phonic argument is admirable.

As Vaughan Williams wrote in his own note: “Each of the first three movements has its tail attached to the head of its neighbour.” The four movements run on without breaks, even though the change of pace and mood is clear in each case. Overwhelming in the second movement is the rat-tat-tat rhythm heard at the very beginning and eventually mowing down everything in its path. Contrasting ideas include a swaying alternation of F minor and E minor chords, and a modal melody first played by all the strings in unison.

An isolated English horn leads into the scherzo, which is diabolical rather than jocular, full of angular intervals and strident orchestration. Parts of it bring to mind the more feverish moments of Shostakovich’s contemporaneous Tenth Symphony, also, as it hap- pens, in E minor. Vaughan Williams described the movement as fugal, although that term would be more appropriate for the extraordinary Epilogue that emerges directly from the close of the scherzo. No symphony had ever ended with such a denial of the conventions of symphonic closure. There is no triumph and no retrospective summing up. The dynamic level is pianissimo throughout, the tempo slow, the orchestration highly restrained, the emotional map blank. Yet there is tension in this music, which is highly crafted with every note in its place. At the end, as the composer put it, “the strings cannot make up their minds whether to finish in E-flat major or E minor. They finally decide on E minor, which is, after all, the home key.” Such detachment cannot diminish the devastating nihilism of so bleak a close, matched only by Shostakovich in his late quartets. Vaughan Williams was visionary rather than devout, but also, as all who knew him bore witness, an active, down-to-earth, practical musician to the end of his days, never prone to agony or despair. Perhaps the Sixth Symphony tells us otherwise, or perhaps he was thinking of his little life as “rounded with a sleep,” the agreeable nothingness of an unbeliever’s heaven.

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCE—also the American premiere performance—of Vaughan Williams’s Symphony No. 6 was given by Serge Koussevitzky on August 7, 1948, at Tanglewood. Koussevitzky and the orchestra then repeated the work in Boston, Pittsburgh, and Chicago in October/November/December 1948 and again in Cambridge, Hartford, New Haven, and New York in March 1949. The only BSO performances since then were given by Sir John Barbirolli in Boston and New London, Connecticut, in October/November 1964; by Sir Colin Davis in December 1982, and then by Sir Colin again in January 2007.

week 22 program notes 37 ZAREH THOMAJAN ~ GREG THOMAJAN

Celebrating our 80th Anniversary

SERVING THE FINANCIAL DISTRICT SINCE 1933

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070

New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com Sergei Prokofiev Piano Concerto No. 2 in G minor, Opus 16

SERGEI SERGEYEVICH PROKOFIEV was born in Sontsovka, in the Ekaterinoslav district of Russia, in the Ukraine, on April 23, 1891, and died in Nikolina Gora, near Moscow, on March 5, 1953. He began his Piano Concerto No. 2 in the winter of 1912-13, completing it that April while still a student at the St. Petersburg Conservatory. The composer himself was pianist for the first performance, which took place on September 5, 1913, at Pavlovsk, with A.P. Aslanov conducting. The original score was lost in a fire during the 1917 Revolution; Prokofiev subsequently reconstructed the work from his sketches while at Ettal, in Bavaria, in 1923, then played the premiere of that version on May 8, 1924, in Paris, with Serge Koussevitzky conducting. Prokofiev and Koussevitzky also col- laborated in the first American performances, which were played by the Boston Symphony Orchestra on January 31 and February 1, 1930.

IN ADDITION TO THE SOLO PIANO, the score of the concerto calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, tambourine, side drum, and strings.

During the ten years he spent at the St. Petersburg Conservatory, the young Prokofiev developed his own piano playing to a remarkable degree of brilliance and turned out in quick succession his first two piano concertos. The premiere of his First Concerto had given him a taste of what it was like to be somewhat controversial, to be discussed by the leading critics in both St. Petersburg and Moscow. There was something of a furor, and Prokofiev astutely used the excitement when, in his final year at the conservatory (1913-14), he aimed for the Rubinstein Prize, the top piano award offered by the institu- tion, choosing as his competition piece not a classical concerto but his own work, even going to the extent of having the score printed for the occasion! (He won the prize, though the judges were not unanimous.)

By this time Prokofiev had already completed and performed his Second Concerto, which, according to one critic, left its listeners “frozen with fright, hair standing on end.” Actually,

week 22 program notes 39 Program page for the first Boston Symphony performances—also the work's first American performances— of Prokofiev's Piano Concerto No. 2 on January 31 and February 1, 1930, with the composer as soloist and Serge Koussevitzky conducting (BSO Archives)

40 many of them seem to have been ready for such a reaction even while on their way to the performance, which took place in the slightly out-of-the-way town of Pavlovsk. The critics came out from St. Petersburg in force, sensing the kind of event that sells news- papers. The reviewer in the Petersburgskaya Gazeta wrote: The debut of this cubist and futurist has aroused universal interest. Already in the train to Pavlovsk one heard on all sides, “Prokofiev, Prokofiev, Prokofiev.” A new piano star! On the platform appears a lad with the face of a student from the Peterschule [a fash- ionable school; it should be remembered that the composer was just twenty-two]. He takes his seat at the piano and appears to be either dusting off the keys, or trying out notes with a sharp, dry touch. The audience does not know what to make of it. Some indignant murmurs are audible. One couple gets up and runs toward the exit. “Such music is enough to drive you crazy!” is the general comment. The hall empties. The young artist ends his concerto with a relentlessly discordant combination of brasses. The audience is scandalized. The majority hisses. With a mocking bow, Prokofiev resumes his seat and plays an encore. The audience flees, with exclamations of: “To the devil with all this futurist music! We came here for enjoyment. The cats on our roof make better music than this.”

Of course, we can’t be positive that the audience in Pavlovsk heard the piece as we know it today, since the manuscript was lost and had to be reconstructed ten years later on the basis of the solo piano part, but on the whole it seems likely that any changes were rela- tively minor. Thus, we are rather bemused—not to say astonished—at the vehemence of the early reaction. Certainly there are moments in the score that might raise eyebrows, but there are also wonderful lyric ideas, delicate colors, and accessibly elementary har- monies, with varied passages of rich pianistic elaboration.

Prokofiev’s beginning is about as atypical as one can imagine: instead of dramatic fire- works between opposing forces (piano and orchestra), a gentle introductory phrase in the muted strings (pizzicato) and clarinets ushers in Chopinesque figuration in the pianist’s left hand, supporting a long, delicate melody in the right. A faster, marchlike section brings in the acerbic, witty, piquant side of Prokofiev, culminating in an extended solo that is not a cadenza—more or less irrelevant to the musical discourse—but a con- tinued working out of its issues, though the soloist completely takes over until the climactic return of the orchestra and a pianissimo recollection of the opening.

The scherzo is a relentless moto perpetuo in which the soloist has unbroken sixteenths played by both hands in octave unison throughout, while the orchestra supplies color and background in a sardonic mood. In the Intermezzo, the orchestra suggests a dark, heavy march (with many repetitions of a four-note bass figure hinting at a passacaglia); over this the piano cavorts with figures alternately delicate and forceful.

The finale brings on the traditional opposition between forces, with the soloist attempting to overwhelm the orchestra now with fleet brilliance, now with full-fisted chords. This does not, however, preclude a surprisingly tranquil contrasting passage begun by clar-

week 22 program notes 41 42 An early photograph of Prokofiev at the keyboard

inets and violas, but carried on at some length by the unaccompanied piano, sounding like a Russian folk melody. This melody is the subject of much further discussion, grow- ing more energetic and lively, eventually—after another extended solo passage, here more like a traditional cadenza—reappearing embedded in the rhythmic orchestral material that brings the concerto to its breathtaking close.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for orchestras and other ensembles throughout the country.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCESOFPROKOFIEV’SPIANO CONCERTO NO. 2—which were also, as stated above, the first American performances of the piece—were led by Serge Koussevitzky with the composer as soloist on January 31 and February 1, 1930; these were followed a week later by performances in Brooklyn and New York. The next BSO performance took place more than twenty years later, on August 5, 1951, at Tanglewood, with Jorge Bolet as soloist and Eleazar de Carvalho conducting. Since then, BSO performances have fea- tured Nicole Henriot (later Henriot-Schweitzer) and Malcolm Frager (both with Charles Munch), John Browning (with Erich Leinsdorf), Garrick Ohlsson (with Seiji Ozawa), Viktoria Postnikova (with Gennady Rozhdestvensky), Mikhail Rudy (with Gunther Herbig), Yefim Bronfman (with Franz Welser-Möst and later with Sergiu Comissiona), Evgeny Kissin (with Emmanuel Krivine), Horacio Gutiérrez (three times at Tanglewood, with Joseph Silverstein, Yuri Simonov, and, most recently, on July 14, 2000, with James Conlon, the BSO's most recent performance there), and Nicolas Hodges (the most recent subscription performances, with David Robertson in October/November 2010).

week 22 program notes 43

Nikolai Rimsky-Korsakov “Capriccio espagnol,” Opus 34

NIKOLAI ANDREYEVICH RIMSKY-KORSAKOV was born at Tikhvin, in Novgorod province, on March 6, 1844, and died at Lyubensk, in St. Petersburg province, on June 8, 1908. “Capriccio espagnol” was composed mostly during the summer of 1887, the orchestral score being completed on July 23, 1887. The first performance was given on October 31, 1887, in St. Petersburg, at one of the popular Russian Symphony Concerts organized by Mitrofan Belyaev, with the composer con- ducting the orchestra of the St. Petersburg Russian Opera. Though the work’s original Russian title is “Kaprichchio na ispanskiye temy”—“Capriccio on Spanish Themes”—the piece is most commonly referred to by the simplified translated French title, “Capriccio espagnol.”

THE SCORE OF THE “CAPRICCIO ESPAGNOL” calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, tim- pani, snare drum, bass drum, cymbals, triangle, tambourine, castanets, harp, and strings.

Orchestra musicians have heard it all and don’t impress easily. But the first time they rehearsed Rimsky-Korsakov’s colorfully ecstatic Capriccio espagnol in 1887, the players of the St. Petersburg Russian Opera Orchestra repeatedly broke into spontaneous applause after each movement. (The composer responded by gratefully dedicating the piece to them.) The premiere performance also provoked a tumultuous ovation. Tchaikovsky, who was present, afterwards presented to his most serious composer-rival a wreath bearing the inscription: “To the greatest master of orchestration—from his sincere admirer.” The usually acerbic César Cui, a member along with Rimsky of the group of five St. Petersburg nationalist composers called “the mighty little handful,” raved in his review that “this is one of the most dazzling, most brilliant orchestral compositions of all that are in existence.”

Nor has the popularity of Capriccio espagnol among audiences and musicians ever flagged in the 127 years since. Along with Scheherazade, it is Rimsky-Korsakov’s most internation- ally beloved and most frequently recorded creation. It also inspired a 1939 ballet choreo- graphed by Leonide Massine, and has been heard in films as diverse as The Devil is a

week 22 program notes 45 Program page for the first Boston Symphony Orchestra performances of Rimsky-Korsakov’s “Capriccio espagnol” on February 14 and 15, 1908, with Karl Muck conducting (BSO Archives)

46 Woman, Brokeback Mountain, and Women on the Verge of a Nervous Breakdown. How ironic that the intensely patriotic Rimsky-Korsakov—who labored for years producing weighty operas on Russian folk and historical subjects that mostly failed to enter the international repertoire—found his greatest global fame with what he himself described as a “purely superficial piece” based on Spanish folk songs, in five sections lasting only about sixteen minutes.

“Capriccio: A humorous, fanciful, or bizarre, composition, often characterized by an idio- syncratic departure from current stylistic norms.” That is how The Harvard Dictionary of Music defines the form. Capriccio espagnol leans more toward the fanciful than to the humorous or bizarre. Rimsky was not the first Russian composer (or the last) to explore the broad possibilities of the capriccio: Mikhail Glinka’s Capriccio brillante (1845, also based on a Spanish theme) and Tchaikovsky’s grandly operatic Capriccio italien (1880) were obvious models. Both Glinka and Rimsky did actually visit Spain. Glinka passed nearly two years there from 1845 to 1847 and made a serious study of Spanish music. Rimsky’s acquaintance with the country was more fleeting. As a young sailor in the Russian navy, he spent several days in late 1864 in the ancient port city of Cadiz in Andalusia on the way to Gibraltar and the Mediterranean before returning home to begin his serious musical career.

Rimsky composed the Capriccio in the summer of 1887, during his vacation from his teaching duties at St. Petersburg Conservatory, while staying at a rented lakeside villa in the Russian countryside with his family. His main project that summer was the orches- tration of parts of Alexander Borodin’s epic opera Prince Igor, left unfinished and in considerable disarray when his close friend Borodin died the preceding February. The languid “orientalism” of much of Borodin’s music for Prince Igor, especially for the scenes set in the Polovetsian encampment where Igor is taken prisoner, may have stimulated Rimsky to explore the more exotic musical material that he uses to such dramatic effect in Capriccio espagnol and in the symphonic suite Scheherazade, composed the following

week 22 program notes 47 Nikolai Rimsky-Korsakov as a naval cadet in 1866

year. Initially Rimsky envisioned the Capriccio as a “violin fantasy on Spanish themes,” as he wrote in his autobiography My Musical Life. His ideas changed as he worked, however. In its completed form the Capriccio contains numerous virtuoso passages for the violin, but is really a concerto for orchestra, featuring solo passages for many different instru- ments. From the beginning, Rimsky was confident of his success: “According to my plans the ‘Capriccio’ was to glitter with dazzling orchestra color and, manifestly, I had not been wrong.”

After the first performance, a glowing Rimsky explained his intentions further: The opinion formed by both critics and the public that the ‘Capriccio’ is a magnificently orchestrated piece, is wrong. The ‘Capriccio’ is a brilliant composition for the orches- tra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instru- ments solo, the rhythm of the percussion instruments, and so on, constitute here the very essence of the composition and not its garb or orchestration. The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects.

Rimsky never revealed exactly what the Spanish themes were that he employed in the Capriccio, or where he had found them. Subsequent research has determined that he took all of the themes from a collection of Spanish folk songs compiled by José Inzenga, grouped into fourteen different sections according to their regional origins. As a unifying motif for the Capriccio, Rimsky uses a rousing, sunny theme (marked Vivo e strepitoso) in 2/4 that is an example of an alborada, music “performed at dawn, especially on a festive occasion or to honor an individual, as on a bride’s wedding day.” This one is from the Asturias region. The first and third sections (each only slightly more than a minute long) are both labeled “Alborada,” and treat this same theme with different orchestration and in different keys (first in A major, the home key of the entire Capriccio, and then in B-flat

48 major), using characteristic bagpipe effects in the accompaniment and featuring solo passages in the clarinet. In the concluding fifth section (a Fandango, also from Asturias, in A major like the first section), the infectious Alborada theme reappears, cleverly trans- formed into a 3/4 fandango rhythm underpinned by the obligatory castanets.

The second and fourth sections—“Variazioni” (“Variations”) and “Scena e canto gitano” (“Scene and Gypsy Song”), respectively—provide sonic and dramatic contrast. Another Asturian theme, a beguiling slow evening dance in 3/8 first announced by a horn quar- tet, is the subject of the variations in the second section. They conclude with ethereal and virtuosic ascending and descending scale passages played by the solo flute over the melody in the first violins. Gypsy atmosphere permeates the fourth and longest section, based on an Andalusian song. The opening brass fanfare and the elaborately decorated cadenzas for violin, flute, clarinet, and harp that follow evoke images of bullfights and smoky cafes reminiscent of Bizet’s 1874 Carmen, an opera that, not incidentally, enjoyed huge success in Russia, where gypsy music was always an important part of the sonic and cultural landscape.

The overwhelming popular and critical success of Capriccio espagnol in 1887 inspired Rimsky to compose two more orchestral works of a similar nature the following year: the symphonic suite Scheherazade and the Russian Easter Festival overture. In all three, he shows his mastery not only of orchestration and variation technique, but of a dense, dra- matic, and overarching symphonic conception.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. A regular lecturer for the Boston Symphony Orchestra, Metro- politan Opera Guild, and Aspen Music Festival, he is the author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians.”

ANAMERICANPERFORMANCEOFTHE“CAPRICCIOESPAGNOL” (possibly the first American performance of the piece) was included in one of Anton Seidl’s “Popular Orchestral Concerts” with the Metropolitan Orchestra at Brighton Beach, New York, given in the summer of 1891 from June 27 to September 7.

THEFIRSTBOSTONSYMPHONYPERFORMANCES were given on February 14 and 15, 1908, by Karl Muck, who led numerous performances both in and out of town between February 1908 and January 1917. Other BSO performances were given by Max Fiedler, Ernst Schmidt, Henri Rabaud, Pierre Monteux, Albert Stoessel, and Serge Koussevitzky, who also led the work many times both in and out of town (including the BSO’s only Tanglewood performance on August 3, 1941), between November 1924 and December 1945. Since then, the only BSO performance was given by Erich Leinsdorf, in a Pension Fund concert on February 11, 1968. More recently, the Tanglewood Music Center Orchestra led by TMC Conducting Fellow Christian Macelaru played the “Capriccio espagnol” at Tanglewood on July 5, 2010.

week 22 program notes 49

To Read and Hear More...

Though both are out of print, Michael Kennedy’s The Works of Ralph Vaughan Williams (Oxford) and R.V.W.: A Biography of Ralph Vaughan Williams (also Oxford), by Ursula Vaughan Williams, the composer’s widow, remain crucial sources. James Day’s 1961 Vaughan Williams in the Master Musicians series has been republished (Oxford University paperback). Relatively recent additions to the literature include Jerrold Northrop Moore’s Vaughan Williams: A Life in Photographs (Clarendon Press) and Paul Holmes’s Vaughan Williams: His Life and Times (Omnibus Press paperback). Hugh Ottaway’s article on Vaughan Williams from the 1980 New Grove Dictionary was reprinted in The New Grove Twentieth Century English Masters along with those on Britten, Delius, Elgar, Holst, Tippett, and Walton (Norton paperback). The article in the revised Grove (2001) is by Ottaway and Alain Frogley. Ralph Vaughan Williams: A Pictorial Biography by John Lunn and Ursula Vaughan Williams, published in 1971, is worth seeking (Oxford). The composer’s own National Music and Other Essays provides a vivid self-portrait (Oxford).

Sir Andrew Davis recorded Vaughan Williams’s Symphony No. 6 with the BBC Symphony Orchestra (Teldec). Other recordings include a 1987 live performance with Sir Colin Davis conducting the Bavarian Radio Symphony Orchestra (BR Klassik); Bernard Haitink’s with the London Philharmonic (EMI), Sir Adrian Boult’s with the London Philharmonic (Philips) and the New Philharmonia Orchestra (EMI), André Previn’s with the London Symphony Orchestra (RCA), and Vernon Handley’s with the Royal Liverpool Philharmonic (Classics for Pleasure). In addition, the twelve-disc BSO box “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” includes a seven-minute track of Serge Kousse- vitzky rehearsing the BSO in the Vaughan Williams Sixth at Symphony Hall in March 1949 (available at the Symphony Shop).

The important modern study of Prokofiev is Harlow Robinson’s Sergei Prokofiev: A Biography. Originally published in 1987, this was reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”-vs.-“Western” perspectives typical of their time, as reflected in such older volumes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence (Northeastern University). Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon

week 22 read and hear more 51 52 paperback). Robert Layton discusses Prokofiev’s concertos in his chapter “Russia after 1917” in A Guide to the Concerto, for which Layton was also editor (Oxford paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobiographical account covering the first seventeen years of Prokofiev’s life, through his days at the St. Petersburg Conservatory (Doubleday).

Yuja Wang has recorded Prokofiev’s Piano Concerto No. 2 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela (Deutsche Grammophon). The Boston Symphony Orchestra led by Erich Leinsdorf recorded the five Prokofiev piano concertos with pianist John Browning in the mid-1960s (RCA; reissued on CD by Testa- ment). Other recordings of Prokofiev’s Piano Concerto No. 2 include Vladimir Ashkenazy’s with André Previn and the London Symphony Orchestra (Decca), Jean-Efflam Bavouzet’s with Gianandrea Noseda and the BBC Philharmonic (Chandos), Yefim Bronfman’s with Zubin Mehta and the Israel Philharmonic (Sony), and Evgeny Kissin’s with Vladimir Ashkenazy and the Philharmonia Orchestra (EMI).

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

The many recordings of Rimsky’s Capriccio espagnol include those by Leonard Bernstein with the New York Philharmonic (Sony), Charles Dutoit with the Montreal Symphony (Decca), Mariss Jansons with the London Philharmonic (EMI), Lorin Maazel with the Berlin Philharmonic (Deutsche Grammophon), Igor Markevitch with the London Symphony Orchestra (Philips), Kurt Masur with the New York Philharmonic (Teldec), and George Szell with the Cleveland Orchestra (Sony).

Marc Mandel

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

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

week 22 read and hear more 53

Guest Artists

Sir Andrew Davis

Sir Andrew Davis is music director and principal conductor of Lyric Opera of Chicago and chief conductor of the Melbourne Symphony Orchestra. In his forty-year career he has been the artistic leader at such distinguished institutions as Glyndebourne Festival Opera (1988- 2000), the BBC Symphony Orchestra (1991-2004), and the Toronto Symphony Orchestra (1975-1988), and has established his reputation through extensive recordings, his many inter- national tours, and guest appearances and relationships with several of the finest orchestras and opera companies of Europe, North America, and Australia. His 2013-14 season includes a tour to the Middle East and Asia with the BBC Symphony Orchestra, of which he remains Conductor Laureate, giving eight concerts in Qatar, Japan, Korea, and Taiwan. He returns to Lyric Opera of Chicago for Parsifal in a new John Caird production, two productions by Sir David McVicar (Rusalka and La clemenza di Tito), and a gala concert featuring Renée Fleming and Jonas Kaufmann. His other opera project this season is a relative rarity: Massenet’s Cendrillon for Barcelona’s famed Gran Teatre del Liceu, in a production by Laurent Pelly. In August 2014 Mr. Davis takes the Melbourne Symphony Orchestra on tour to European sum- mer festivals, including the London Proms at Royal Albert Hall, the Edinburgh Festival, Amster- dam’s Concertgebouw, the Mecklenburg Festival, and the Tivoli Festival in Copenhagen. He begins a multi-year, multi-disc recording project of orchestral works by Charles Ives for the Chandos label, which has previously released discs of works by Percy Grainger and Eugene Goossens with the Melbourne Symphony and Sir Andrew. With the BBC Symphony Orchestra and in celebration of his 70th birthday, he conducts two monumental Elgar oratorios, The Dream of Gerontius and The Apostles. He also returns to the Toronto Symphony, where he is

week 22 guest artists 55 56 Conductor Laureate, and appears elsewhere in North America with the Boston Symphony Orchestra, New York Philharmonic, and Montreal Symphony. In Europe he returns to the Leipzig Gewandhaus Orchestra for the European premiere of Bernard Rands’s Piano Concerto written for Jonathan Biss, and also to the BBC Philharmonic (Manchester, UK), Norway’s Bergen Philharmonic (where Elgar’s King Olaf will be recorded by Chandos), and to the Deutsches Sinfonie-Orchester Berlin for a rare German performance of Gerontius. Sir Andrew currently records exclusively for Chandos; he has also recorded for Decca, Deutsche Gram- mophon, Warner Classics International, Capriccio, EMI, and CBS, among others, including a Grammy-nominated recording of York Bowen’s symphonies 1 and 2. His 2008 Onyx Classics recording of Elgar’s Violin Concerto featuring violinist James Ehnes with London’s Philharmonia Orchestra won Gramophone’s coveted “Best of Category–Concerto” Award. Born in 1944 in Hertfordshire, England, Andrew Davis studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. In 1992 he was made a Commander of the British Empire for his services to British music, and in 1999 he was designated a Knight Bachelor in the New Year Honours List. In 1991 he received the Royal Philharmonic Society/Charles Heidsieck Music Award. In 2012 he received an honorary doctorate from Knox College in Galesburg, Illinois. Sir Andrew Davis made his Boston Symphony debut with subscription con- certs in January 1976 and has conducted the orchestra frequently at Symphony Hall and at Tanglewood. Though his most recent subscription appearances were in October 2002, he has appeared numerous times since then at Tanglewood, most recently in 2008 to lead the BSO in an all-Mozart program. Also that summer he led the Tanglewood Music Center Orchestra in a concert performance of Tchaikovsky’s opera Eugene Onegin and, as part of Tanglewood on Parade, the Four Sea Interludes from Britten’s Peter Grimes.

Yuja Wang

Pianist Yuja Wang is an exclusive recording artist for Deutsche Grammophon. Following her debut recording, “Sonatas & Etudes,” Gramophone magazine named her the Classic FM 2009 Young Artist of the Year. Her subsequent recordings include “Transformation,” which earned an Echo Klassik award; a Grammy-nominated disc featuring Rachmaninoff’s Rhapsody on a

week 22 guest artists 57

Theme of Paganini and Concerto No. 2; “Fantasia,” a collection of encore pieces by Albéniz, Bach, Chopin, Rachmaninoff, Saint-Saëns, Scriabin, and others; and a live recording of Prokofiev’s Concerto No. 2 and Rachmaninoff’s Concerto No. 3. Since her 2005 debut with the National Arts Centre Orchestra under Pinchas Zukerman, Ms. Wang has performed with the major orchestras of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, and Washington, and abroad with the Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philharmonic, Orchestre de Paris, Orquesta Nacional España, Simón Bolívar Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw Orchestra, Orchestra Mozart, and Orchestra dell’Accademia Nazionale di Santa Cecilia, among others. She regularly gives recitals in major cities throughout Asia, Europe, and North America. A dedicated performer of chamber music, she makes annual appearances at Switzerland’s Verbier Festival. In 2011 she performed in a three-concert chamber series at the Salle Pleyel in Paris with principal players from the Berlin Philharmonic and made her Carnegie Hall recital debut at Stern Hall. Last year she returned to the Israel Philharmonic to work with Zubin Mehta, followed by a United States tour that included performances at Carnegie Hall and Disney Hall; performed on a three-week tour of Asia with the San Francisco Symphony and Tilson Thomas; and again joined the Berlin Philharmonic’s principal players at the Salle Pleyel, this time for a series of all-Brahms concerts. In spring 2013 she was presented by the Berlin Philharmonic in recital at the Philharmonie, and returned to Carnegie Hall both in recital and in concerto appearances with the San Francisco Symphony. Her recital tour of Japan included her Suntory Hall debut. As the featured artist in the London Symphony Orchestra’s Artist Portrait 2014 series, she performs three concertos, a recital, and chamber music in London, followed by a tour of China with Daniel Harding conducting. She makes her Hungarian National Philharmonic debut under Zoltán Kocsis with Bartók’s Piano Concerto No. 2. Her frequent summer collaborations with violinist Leonidas Kavakos continue with multiple tours of Europe focusing on Brahms’s violin and piano sonatas. She returns to the Los Angeles Philharmonic for subscription concerts and a U.S. tour, and also returns to the Boston Symphony under Sir Andrew Davis and to the Cleveland Orchestra under Giancarlo Guerrero. At a young age Yuja Wang entered Beijing’s Central Conservatory of Music to study under Ling Yuan and Zhou Guangren. She spent three summers at the Morningside Music cultural exchange program at Calgary’s Mount Royal College and studied with Hung-Kuan Chen and Tema Blackstone at the Mount Royal College Conservatory. She then moved to the U.S. to study with Gary Graffman at Philadelphia’s Curtis Institute of Music, graduating in 2008. A Steinway Artist, she received the Gilmore Young Artist Award in 2006 and the prestigious Avery Fisher Career Grant in 2010. Yuja Wang has appeared twice previously with the Boston Symphony Orchestra: in March 2007 in her BSO debut with Tchaikovsky’s Piano Concerto No. 1 led by Charles Dutoit (on which occasion she replaced Martha Argerich, who was scheduled to play Beethoven’s Piano Concerto No. 1), and her Tanglewood debut in Rachmaninoff’s Rhapsody on a Theme of Paganini in August 2011 under Rafael Frühbeck de Burgos.

week 22 guest artists 59 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

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

‡ Deceased

week 22 the great benefactors 61

Administration

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

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

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

Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

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

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

week 22 administration 65 66 development

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

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Senior Executive Assistant for Development • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

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

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

week 22 administration 67 68 information technology Timothy James, Director of Information Technology

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

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

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

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

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

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

week 22 administration 69 70 Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Audley H. Fuller Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2013-14

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

week 22 administration 71 Next Program…

Thursday, April 3, 8pm Friday, April 4, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, April 5, 8pm Tuesday, April 8, 8pm

robert spano conducting

debussy “nuages” and “fêtes” from “nocturnes”

rands concerto for piano and orchestra (2013) (world premiere; bso commission) I. Fantasia.
= 60. Noble II.
= 48. Slow, quiet, vague and mysterious! III.
= 76-82. Delicate and playful jonathan biss

{intermission}

rachmaninoff symphonic dances, opus 45 Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace

For his second week of concerts this season—he conducted Golijov’s La Pasión según San Marcos in January—Robert Spano leads the orchestra’s final world premiere of 2013-14, Bernard Rands’s Concerto for Piano and Orchestra, a BSO commission composed for the probing American pianist Jonathan Biss. The BSO previously commissioned and premiered ...body and shadow... (1989) and the Cello Concerto (1997, for Mstislav Rostropovich) by the English-born American composer, who won the Pulitzer Prize in 1984. Claude Debussy’s Nuages and Fêtes are two contrasting movements from the impressionistic orchestral Nocturnes. Rachmaninoff wrote his colorful final work, Symphonic Dances, in 1940 for the Philadelphia Orchestra.

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

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

Thursday ‘C’ April 3, 8-9:55 Thursday, April 17, 10:30am (Open Rehearsal) Friday ‘A’ April 4, 1:30-3:25 Thursday ‘B’ April 17, 8-10:15 Saturday ‘A’ April 5, 8-9:55 UnderScore Friday April 18, 8-9:30 Tuesday ‘C’ April 8, 8-9:55 Saturday ‘B’ April 19, 8-10:15 ROBERTSPANO, conductor LORINMAAZEL, conductor JONATHAN BISS , piano MOZART Symphony No. 38, Prague DEBUSSY “Nuages” and “Fêtes” from (April 17 and 19 only) Nocturnes MAHLER Symphony No. 5 RANDS Concerto for Piano and Orchestra (world premiere; BSO commission) Tuesday ‘B’ April 22, 8-10:05 RACHMANINOFF Symphonic Dances Thursday ‘A’ April 24, 8-10:05 LORINMAAZEL, conductor BEHZODABDURAIMOV, piano Sunday, April 6, 3pm Jordan Hall, New England Conservatory MUSSORGSKY Night on Bare Mountain BOSTONSYMPHONYCHAMBERPLAYERS RACHMANINOFF Rhapsody on a Theme of Paganini RANDALLHODGKINSON, piano TCHAIKOVSKY Symphony No. 5 MILHAUD Suite d’après Corrette, for oboe, clarinet, and bassoon CURRIER Parallel Worlds, for flute and Friday ‘B’ April 25, 1:30-3:30 string quartet (Boston premiere; Saturday April 26, 8-10 BSO co-commission) (Non-subscription) SCHUBERT Octet in F for winds and strings, D.803 LORINMAAZEL, conductor BEHZODABDURAIMOV, piano GLINKA Overture to Ruslan and Ludmila Thursday ‘D’ April 10, 8-10 RACHMANINOFF Rhapsody on a Theme of Friday ‘A’ April 11, 1:30-3:30 Paganini Saturday ‘A’ April 12, 8-10 BERLIOZ Symphonie fantastique FRAN¸COIS-XAVIER ROTH, conductor BSOSOLOISTS TANGLEWOOD FESTIVAL CHORUS, JOHNOLIVER, conductor J.S.BACH Brandenburg Concerto No. 1 STRAVINSKY Symphony of Psalms BEETHOVEN Elegiac Song BEETHOVEN Symphony No. 4

Programs and artists subject to change.

week 22 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 Symphony Hall InformationInformationSymphony

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

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

week 22 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

76