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Home , Adele Aus der Ohe, Kirill Gerstein, Mark Zeltser, Martinus Sieveking, Nelson Freire, Olga Samaroff

Table of Contents | Week 1

7 bso news 15 on display in hall 16 bso director 18 the symphony 21 a message from andris nelsons 22 this week’s program

Notes on the Program

24 The Program in Brief… 25 Dmitri Shostakovich 33 41 Sergei 49 To Read and Hear More…

Guest Artist

55

58 sponsors and donors 78 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on october 2 is given by bso director of program publications marc mandel.

program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Chris Lee cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director , lacroix family fund conductor emeritus , music director laureate 135th season, 2015–2016

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • 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. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 1 trustees and overseers 3

photos by Michael J. Lutch

Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 1 trustees and overseers 5

BSO News

An Andris Nelsons Update This past August, following his extraordinary first year as BSO music director—which received virtually unanimous praise and enthusiasm from critics and audiences alike for his work with the BSO—the Boston Symphony Orchestra and Andris Nelsons reached an agreement to extend his contract as music director from five to eight years, through the 2021-22 season. Maestro Nelsons will lead the orchestra in a minimum of twelve Symphony Hall programs each year, as well as several programs each summer at . In addi- tion, annual tours—including trips to , Asia, and North America—are planned for each season of his BSO tenure. Also announced this summer, in September, was Maestro Nelsons’ appointment beginning in 2017 as Gewandhauskapellmeister of the Gewandhaus Orchestra (GWO) in , in which capacity, during his five-year appointment with that orchestra, he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two and encompassing a variety of musical collaborations between the two organizations, including a shared commissioning program, special repertoire focuses, educational activities, performances by each orchestra in the other’s home venue, and musician exchanges between the two ensembles.

CD Signing with Andris Nelsons, Saturday night, October 3 BSO Music Director Andris Nelsons will be in Higginson Hall following the of Saturday night, October 3, to sign copies of his new CD with the BSO—Shostakovich’s Symphony No. 10 and Passacaglia from the Lady Macbeth of Mtsensk. Recorded live at Symphony Hall last April and released this past summer, the disc is the first in the multi- year collaboration—“Shostakovich Under Stalin’s Shadow”—between the Boston Symphony Orchestra and , to include the ’s 5-10 (nos. 5, 8, and 9 are being recorded this season, the Ninth this week), as well as selections from his scores for Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” returns in 2015-16, again offering the opportunity to increase your enjoyment of BSO . These six free sessions—an initial Tuesday (October 13) followed by five Wednesday sessions (November 11; January 20; February 10; March 9; April 6), all from 5:30-6:45 p.m. in Higginson Hall—with BSO Director of Program Publica- tions Marc Mandel joined by members of the BSO are designed to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining and

week 1 bso news 7 illuminating aspects of musical shape and form, and of the ’ individual musical styles. All of the sessions include recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. The specific musical works to be discussed will be posted at bso.org. Also this season, thanks to the generosity of an anonymous donor, “BSO 101: Listening Up Close” takes to the road, offering five BSO 101 sessions with Marc Mandel and BSO musicians on Sunday afternoons from 2-3:30 p.m., at The Arlington Center (October 4), Waltham Public Library (November 15), UMASS Lowell (February 7), Newton Public Library (March 20), and Watertown Arsenal Center for the Arts (April 10). For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on five Friday afternoons during the 2015-16 season: October 16 (music of Dvoˇrák and Mark O’Connor), November 13 (Beethoven and Bartók), February 12 (music for brass quintet), March 18 (Williams, Saint-Saëns, and Debussy), and (Srnka and Hindemith). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on October 2 is given by Marc Mandel, next week’s, on October 9, by Robert Kirzinger.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Each Saturday-night concert is broad- cast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online, along with a one-year archive of concert broadcasts. Listeners can also hear the BSO Concert Channel, an online radio station consisting of BSO concert perform- ances from the previous twelve months. Visit classicalwcrb.org/bso. Current and upcoming broadcasts include this week’s all-Russian program with BSO Music Director Andris Nelsons and Evgeny Kissin (Saturday, October 3; encore October 12); music of Sebastian Currier, Beethoven, and Brahms led by Andris Nelsons, with pianist Lars Vogt (October 10; encore October 19); Strauss’s Elektra led by Andris Nelsons, featuring Christine Goerke, Gun-Brit Barkmin, Jane Henschel, Gerhard Siegel, and James Rutherford (October 17; encore October 26), and a conductor-less all-Dvoˇrák program featuring the string and wind players of the BSO (Oct. 24; encore November 2).

week 1 bso news 9 individual tickets are on sale for all concerts in the bso’s 2015-2016 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Beranek Concert Waves: A Life in Sound, Science, and Industry, Thursday, October 1, 2015 was published by The MIT Press in 2008. The BSO’s performance this Thursday is en- Gabriella Beranek served as Trustee of the dowed by a generous gift from Great Bene- Boston Symphony Orchestra from 1997 to factors and Life Trustees Leo and Gabriella 2007 and as Overseer from 1988 to 1997; Beranek. Leo and Gabriella, who are longtime she was appointed a Life Trustee in 2013. In BSO subscribers, have both played significant the late 1980s, Gabriella was central to the roles in the life of the Symphony. success of the “Salute to Youth” portion of the BSO’s Open House weekend, “Salute to Dr. Leo Beranek began his appointed service Symphony,” which brought together the BSO, to the BSO in 1968 as a charter member of Yo-Yo Ma, the Greater Boston Youth Symphony the Board of Overseers, and chaired the Board Orchestra, and the New Conserva- of Overseers from 1977 to 1980. Leo was tory Orchestra to perform before 5,000 chil- appointed a BSO Trustee in 1977, served as dren. The Friends’ component of the March Chairman from 1983 to 1986, and was made 1998 BSO European tour benefited from Honorary Chairman and Life Trustee in 1987. Gabriella’s expert coordination of their four- During his tenure as Trustee, Leo sought to teen days of travel and activities. From 1997 increase dramatically the BSO’s endowment. to 2000, Gabriella served on the Symphony In 1992, fellow donors and Board members Hall Centennial Committee; in 2000, she named the Beranek Room in Leo’s honor; created the spectacular Symphony Hall Higginson Society members continue to Centennial Ball. gather regularly in this elegant and comfort- able space. An internationally recognized The BSO Boards, musicians, and staff appre- authority in the field of sound and acoustics, ciate the Beraneks’ extraordinary contribu- Leo has published many works on acoustics, tions to the enduring legacy of the BSO, and music, and architecture. His most recent we extend warm birthday wishes to Leo on book, an autobiography entitled Riding the the occasion of his 101st birthday last month!

10 The Fanny Peabody Mason honor and privilege to continue our collabora- Memorial Concert, Friday, tion with the BSO, and to play a part in wel- October 2, 2015 coming the valued audiences and world-class artists for each and every performance of this The first Friday-afternoon concert of the cherished institution.” Boston Symphony Orchestra’s subscription season is dedicated to the memory of Miss EMC is a global leader in enabling businesses Fanny Peabody Mason, who was a Friday- and service providers to transform their oper- afternoon subscriber and an active patron of ations and deliver information technology as music both in the and abroad a service (ITaaS). Through innovative products until her death in 1948. Many music lovers and services, EMC accelerates the journey recall the outstanding concerts Miss Mason to cloud computing, helping IT departments presented in the music room of her town- to store, manage, protect, and analyze their house on Commonwealth Avenue and at most valuable asset—information—in a more her summer residence in Walpole, New agile, trusted, and cost-efficient way. “As a Hampshire. The endowment to honor Miss Great Benefactor, EMC is proud to help pre- Mason perpetually was created in 1985 by serve the wonderful musical heritage of the the Peabody-Mason Music Foundation, BSO, so that it may continue to enrich the established by Miss Mason, and which pre- lives of listeners and create a new generation sented young and well-established artists in of music lovers,” said Joe Tucci, Chairman concert in Boston and Cambridge for more and CEO, EMC Corporation. than 35 years. The president of the founda- tion at that time, the late Paul Doguereau, Friday-afternoon Bus Service initiated the gift to the BSO as a way to rec- to Symphony Hall ognize Miss Mason’s love of music, and to foster the highest aspirations of the art. If you’re tired of fighting traffic and searching Besides the concert sponsorship, the gift for a parking space when you come to Friday- created the Mason Lounge for musicians afternoon Boston Symphony concerts, why and staff and the Mason Green Room. not consider taking the bus from your com- munity directly to Symphony Hall? The Boston Symphony Orchestra is pleased to BSO Season Sponsors Return: continue offering round-trip bus service on Bank of America and Friday afternoons at cost from the following EMC Corporation communities: Beverly, Canton, Cape Cod, Con- Longstanding major corporate partners and cord, Framingham, the South Shore, Swamp- BSO Great Benefactors Bank of America and scott, Wellesley, Weston, and Worcester in EMC Corporation return as the BSO Season Massachusetts; Nashua, New Hampshire; Sponsors for the 2015-16 season. Bank of and Rhode Island. In addition, we offer bus America’s Arts and Culture Program is service for selected concerts from the diverse and global, supporting nonprofit arts Holyoke/Amherst area. Taking advantage of institutions that deliver visual and performing your area’s bus service not only helps keep arts, provide inspirational and educational this convenient service operating, but also sustenance, anchor communities, create jobs, provides opportunities to spend time with augment and complement existing school your Symphony friends, meet new people, offerings, and generate substantial revenue and conserve energy. For further information for local businesses. “Bank of America’s sup- about bus transportation to Friday-afternoon port of the arts reflects our belief that the Boston Symphony concerts, please call the arts matter,” said Miceal Chamberlain, Bank Subscription Office at (617) 266-7575. of America Massachusetts President. “It’s an

week 1 bso news 11

BSO Members in Concert Those Electronic Devices… The Walden Chamber Players, whose mem- As the presence of smartphones, tablets, and bership includes BSO musicians Tatiana other electronic devices used for communica- Dimitriades and Alexander Velinzon, , tion, note-taking, and photography continues and Richard Ranti, bassoon, perform music to increase, there have also been increased of Haydn, Schubert, Copland, and Brahms on expressions of concern from concertgoers Friday, October 9, at 7 p.m. at the Nantucket and musicians who find themselves distracted Historical Association’s Whaling Museum, not only by the illuminated screens on these 15 Broad Street. Tickets are $10 (free for devices, but also by the physical movements members) and available by calling (508) that accompany their use. For this reason, 228-1894, ext. 119. On Saturday, October 10, and as a courtesy both to those on stage and the ensemble performs music of Mozart and those around you, we respectfully request Handel as part of Nantucket’s annual “Organ that all such electronic devices be completely Crawl,” which offers mini-recitals at five turned off and kept from view while BSO per- churches, all located within walking distance, formances are in progress. In addition, please beginning at Saint Mary’s Church, 3 Federal also keep in mind that taking pictures of the Street, at 9:15 a.m. Donations made at each orchestra—whether photographs or videos— church help fund organ maintenance and is prohibited during concerts. Thank you very restoration. For more information call (508) much for your cooperation. 228-3352. In residence at Boston University, the Muir Comings and Goings... String Quartet—BSO violinist Lucia Lin and Please note that latecomers will be seated by BSO principal violist Steven Ansell, violinist the patron service staff during the first con- Peter Zazofsky, and cellist Michael Reynolds— venient pause in the program. In addition, plays a free concert, featuring Mendelssohn’s please also note that patrons who leave the String Quartet in E-flat, Op. 12, Bartók’s String auditorium during the performance will not Quartet No. 3, and, joined by pianist Michele be allowed to reenter until the next convenient Levin, Dvoˇrák’s Quintet in A, Op. 81, on pause in the program, so as not to disturb the Monday, October 19, at 8 p.m. at BU’s Tsai performers or other audience members while Performance Center, 685 Commonwealth the music is in progress. We thank you for Avenue. your cooperation in this matter.

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 1 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. Much of this year’s exhibit was inspired by the series of Shostakovich recordings currently being made by Andris Nelsons and the BSO in collaboration with Deutsche Grammophon. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor documenting the commercial recording history of the BSO • two displays cases in the Brooke Corridor focusing on historic BSO performances of Shostakovich’s music, and spotlighting the visit to America by a delegation of Soviet composers led by Shostakovich in November 1959, including a visit to Symphony Hall • two display cases in the Huntington Avenue corridor focusing on BSO members of Russian and Eastern European descent, and the BSO’s historic 1956 tour to the , the first visit by an American orchestra to exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the appointment of as conductor of the BSO • a display case, also in the first-balcony corridor, audience-right, spotlighting the , which was founded by Koussevitzky (as the Berkshire Music Center) in 1940 and celebrated its 75th anniversary this past summer • a display case in the first-balcony corridor, audience-left, marking the 80th birthday this past September of BSO Music Director Laureate Seiji Ozawa • three exhibit cases in the Cabot-Cahners Room highlighting collections of memorabilia—the Paul Cherkassky, Albert Sand, and Josef Zimbler collections— originally belonging to BSO members of Russian or Eastern European origin

TOP OF PAGE, LEFT TO RIGHT: 78rpm label for one of the BSO’s recordings from its very first commercial session in 1917, the Prelude to Act III of Wagner’s “Lohengrin” with November 1959 photo of (from left) Russian-born BSO violinists Vladimir Resnikoff and Victor Manusevitch with Dmitri Shostakovich at Symphony Hall (photo by Ed Fitzgerald) BSO manager Thomas D. Perry’s telegram of June 7, 1956, informing Charles Munch that the BSO has accepted the USSR’s invitation to perform in Leningrad and

week 1 on display 15 ac Borggreve Marco

Andris Nelsons

In 2015-16, his second season as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, Andris Nelsons leads the BSO in thirteen wide-ranging programs, three of them being repeated at in . This past August, Maestro Nelsons’ contract as music director of the Boston Symphony Orchestra was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhaus- orchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two. Highlights of this season’s BSO programs include concert performances of Strauss’s Elektra; three weeks marking the 400th anniversary of the death of Shakespeare; new works by Hans Abrahamsen and George Tsontakis; and the continuation of the orchestra’s multi-year Shostakovich recordings project in collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threaten- ing shadow of Soviet dictator Joseph Stalin. Following this past summer’s Tanglewood season, Andris Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals, including , Cologne, London, Milan, and , as well as the Lucerne, Salzburg, and Grafenegg festivals. An eight-city tour to , , and Luxembourg is scheduled for May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Mr. Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert avail- able on DVD and Blu-ray, and telecast nationwide on PBS). His first compact disc with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—

16 was released last November on BSO Classics. Their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk—was released by Deutsche Grammophon this past summer.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collabora- tions with the , Philharmonic, the Royal Concertgebouw Orchestra of , the Bavarian Radio Symphony Orchestra, and the . He is a regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, and in summer 2016 returns to the Bayreuth Festival for a new pro- duction of Wagner’s Parsifal.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” For more information about Andris Nelsons, please visit andrisnelsons.com and bso.org. ac Borggreve Marco

week 1 andris nelsons 17 Boston Symphony Orchestra 2015–2016

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

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

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

week 1 boston symphony orchestra 19

A Message from Andris Nelsons...

Very Dear Friends,

After an inspiring summer at Tanglewood and a very successful first European tour, we are excited to see you all again here in our beautiful Symphony Hall for my second sea- son as BSO Music Director. It is also a particular honor to be here after having recently extended my contract with this extraordinary orchestra through the 2021-22 season.

From the moment I joined this wonderful family we received incredible support, which helped to build a strong musical relationship not only with the incredible musicians and the wonderful management team, but also with all our dear patrons, and with supporters and generous sponsors. I am very thankful and grateful for what we were already able to accomplish in one season together, and I have more dreams and plans for the many seasons ahead of us.

This season we will be presenting many exciting programs, and we will proudly feature great soloists. I would like to invite you to be part of every concert with us and not to miss any opportunity to inspire your soul. Our programs will highlight numerous favorite works from the beloved core repertoire together with new works by Abrahamsen and Tsontakis. Unique performances include, this winter, a series of concerts marking the 400th anniversary of the death of Shakespeare, with music of Mendelssohn, Prokofiev, and Tchaikovsky alongside music of Henze and Shostakovich. We will also continue our examination of “Shostakovich Under Stalin’s Shadow,” our great recording collaboration with Deutsche Grammophon, this season including Shostakovich’s symphonies 5, 8, and 9 and music for Hamlet. And I am of course very excited about our October concert performances of Strauss’s astonishing opera Elektra, which we are also taking to Carnegie Hall.

I hope you will join us throughout the whole season and share many unforgettable musi- cal moments with us. The beauty of the programs will enrich your souls. The orchestra and I look forward to sharing this journey with you, and this is what will make this season so meaningful for us all. Thank you for your continuing patronage and support, and thank you for bringing new friends this season to join our family and enjoy the BSO!

week 1 a message from andris nelsons 21 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 135th season, 2015–2016

Thursday, October 1, 8pm | the beranek concert Friday, October 2, 1:30pm | the fanny peabody mason memorial concert Saturday, October 3, 8pm

andris nelsons conducting

shostakovich symphony no. 9 in e-flat, opus 70 Allegro Moderato Presto— Largo— Allegretto

Please note that these performances of Shostakovich’s Symphony No. 9 are being recorded for future release as part of the ongoing BSO/Deutsche Grammophon collaboration “Shostakovich Under Stalin’s Shadow.” Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated. ac Borggreve Marco

22 tchaikovsky piano no. 1 in b-flat minor, opus 23 Allegro non troppo e molto maestoso—Allegro con spirito Andantino semplice—Prestissimo—Tempo I Allegro con fuoco evgeny kissin

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

saturday evening’s appearance by evgeny kissin is supported by a gift from dr. lawrence h. and roberta cohn. saturday evening’s performance of shostakovich’s symphony no. 9 is supported by a gift from lloyd axelrod, m.d. bank of america and emc corporation are proud to sponsor the bso’s 2015-16 season.

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius , known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons , selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that omits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 1 program 23 The Program in Brief...

Following the Soviet victory over the Germans in World War II, a suitably celebratory work was expected from Shostakovich; but despite his initial inclination to write a big piece for soloists, chorus, and orchestra, he abruptly changed course, instead quickly producing the tightly conceived Symphony No. 9, whose five movements (the last three are connected without break) take just twenty-five minutes to play—which was particu- larly surprising given the massive scale of his wartime Seventh (Leningrad) and Eighth. The first movement harks back to Classical models, including a repeat of the exposition; an obvious reference point for the listener is the analogous movement of Prokofiev’s Classical Symphony, from decades earlier. But Shostakovich’s symphony turns out not to be as generally light a work as the first movement might suggest. Instead, the work as a whole is characterized by a thought-provokingly ambiguous alternation of light and shadow in terms of instrumental colors, harmonic intricacies, and overall structure— perhaps reflecting Shostakovich’s own feeling that the time for all-out celebration was still not at hand.

Though spurned by the Russian pianist Nikolai Rubinstein, for whom Tchaikovsky origi- nally intended it, the composer’s First found a champion in the German conductor-pianist Hans von Bülow, who was soloist for the first performance in October 1875 in Boston, where he was presenting his own series of concerts (see page 36). The work begins with one of the boldest and most familiar opening salvos in the repertoire, followed by a sweeping for the orchestral strings, against which the pianist plays a series of assertive, crashing chords. But the piano part also offers much opportunity for feather-light fingerwork of an entirely different kind, and one of the most compelling aspects of Tchaikovsky’s concerto is the balance he achieves between music of great forcefulness on the one hand, and music that is soft and gentle on the other.

Sergei Rachmaninoff’s Symphonic Dances, completed in 1940, was the last piece he com- posed, one of only a very few major works of his final decade, along with the Rhapsody on a Theme of Paganini and the Third Symphony, both written in the . He had long since left Russia and was living in Switzerland when he began the Dances, but he and his family moved to at the end of 1939 due to the threat of war, and it was there he finished the piece. Symphonic Dances is in three movements. While exhibiting a tighter compositional structure than many of the composer’s works, it nonetheless features bright and colorful and a number of wonderfully Rachmaninoffian . He dedicated the score to and the Orchestra, who had given the first performances of the composer’s previous three orchestral works and who pre- miered the Symphonic Dances on January 3, 1941.

Marc Mandel (Shostakovich, Tchaikovsky)/Robert Kirzinger (Rachmaninoff)

24 Dmitri Shostakovich Symphony No. 9 in E-flat, Opus 70

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg on September 25, 1906, and died in Moscow on August 9, 1975. He composed the Symphony No. 9 during the last few weeks of August 1945. Evgeny Mravinsky led the Leningrad Philharmonic in the premiere on November 3, 1945, in Leningrad, the American premiere following on July 25, 1946, with Serge Koussevitzky conducting the Boston Symphony Orchestra at Tanglewood.

THE SCORE OF SHOSTAKOVICH’S SYMPHONY NO. 9 calls for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, and strings.

Witty, sardonic, and short, Shostakovich’s Ninth Symphony came as a complete surprise. Composed in the immediate aftermath of the monumental Soviet military victory over , it sounded nothing like the triumphant, patriotic pièce d’occasion expected of the USSR’s leading “court composer.” In five concise movements (the last three played without pause), lacking any programmatic title or dedication, and lasting only about twenty-five minutes (shorter than just the first movement of the massive Eighth Symphony!), it displayed an elegantly understated mood that struck listeners as weirdly out of step with the inflated spirit of the moment. Israel Nestyev, a critic whose opinions usually reflected the official view of the Communist Party, scolded that the composer’s Ninth Symphony failed to convey “the ideas and emotions that had seized his contem- poraries” and showed that “this profound humanistic thinker still retained traces of an ironical skeptic overly concerned with style.”

It wasn’t only that Shostakovich’s new symphony failed to capture sufficiently the cele- bratory spirit sweeping through Stalin’s now vastly expanded Soviet empire. There was also the issue of its number—Nine. Comparisons with Beethoven’s Ninth, whose uplifting choral finale promoting universal brotherhood had long been popular with the Soviet Communist leadership, were inevitable. And the enormous size and scale of Shostakovich’s

week 1 program notes 25 Program page for the first Boston Symphony Orchestra performance—the American premiere—of Shostakovich’s Symphony No. 9 on July 25, 1946, at Tanglewood with Serge Koussevitzky conducting (BSO Archives)

26 two preceding wartime symphonies—the Seventh (Leningrad) and Eighth—understandably fostered great expectations of something even more colossal to follow. In Soviet Stalinist culture at the end of the war, when victory over Fascism was in sight, a style of lavishly embellished monumentalism and “paradnost’” (“parade-ness”) was the order of the day. Even that former Western elitist had responded appropriately with an affirmative blockbuster, his Fifth Symphony, first performed in January 1945, just as Shostakovich was beginning to think about his Ninth.

In early statements about the new symphony, Shostakovich indicated that he, too, was preparing a big work worthy of the occasion. In conversation with a fellow musician, he reportedly said that he intended to use “not only an orchestra, but also a chorus, and vocal soloists, if I can find an appropriate text.” During the winter of 1944-45, he worked on this version, and even completed most of a first movement. Then he suddenly stopped, having abruptly changed his mind, for reasons that have never been entirely clear. It seems that Shostakovich, like all Soviet citizens, needed an emotional break from the grief, horror, and savagery of war that had enveloped the USSR for more than four years. So he took refuge in a return to the clear, bracing air of the 18th-century Viennese classical style of Mozart and Haydn—following, either consciously or subconsciously, the example of Prokofiev’s escapist and charming Classical Symphony, likewise composed in a time of war and revolution, in early 1917.

In any case, once Shostakovich decided upon a new course, he set to work with (even for him) uncommon speed. Completing the first movement in Moscow in early August, he finished the remaining four in the bucolic surroundings of the Soviet Composers’ Union retreat at Ivanovo. By August 30, the entire symphony was finished. Surrounding Shostakovich at Ivanovo that summer were numerous other leading Soviet composers, including Sergei Prokofiev, Reinhold Gli`ere, and Dmitri Kabalevsky. Also there was musi- cologist Daniel Zhitomirsky, who later recalled how Shostakovich was so engrossed in his work that he took almost no part in “summertime leisure activities.” One of his few distractions was playing four-hand piano arrangements of symphonies by Haydn, Mozart, and Bruckner with Kabalevsky.

The last work Shostakovich completed before the Ninth Symphony was a cycle of seven tiny piano pieces entitled A Children’s Notebook (Opus 69). There is also evidence that he considered but ultimately rejected the idea of calling the Ninth his “Children’s Symphony,” perhaps in an attempt to explain its simplicity, playfulness, and transparency. In contrast to his preceding symphonies, the Ninth is episodic and notably lacking in sharp conflict and huge dramatic climaxes. Also unusual is the home key of E-flat major, shared with only one other of the composer’s fifteen symphonies, the Third. As Marina Sabinina points out in her invaluable book on Shostakovich’s symphonies, the Ninth is notable for its symmetrical “squareness,” a close link with classical dance forms, and a stability of and meter that functions as the “engine of development.” Throughout, the orchestration is spare and chamber-like, highlighting different groups of instruments and soloists, with frequent repetition of principal themes.

week 1 program notes 27

A 1961 photo of Shostakovich with the conductor Evgeny Mravinsky

The five-minute first movement opens with a jaunty, comic theme in the first violins, followed by a second theme of a similar character, announced by the piccolo. The orches- tral accompaniment is light. In true classical style, the entire exposition is repeated, a structure highly unusual for Shostakovich. At the same time, no one would mistake this first movement for one by Haydn or Mozart, with its subversive harmonic twists, abrupt intervallic jumps, insistent snare drumming, and anxious intrusions from the brass.

In the contrasting, lyrical second movement—the longest of the five—the key shifts to , often drifting into . Here, the melancholy but peaceful voice of the clar- inet dominates, as it sings the soulful main theme with only minimal accompaniment. In the middle section, a darker mood intrudes, in sliding half-step movements climbing upwards, but tranquility is restored in the end with a quiet return to the main theme.

The last three movements proceed without pause. Unfolding in an ingenious three-part structure, the ebullient Presto features a tarantella in the middle, establishing a festive, joyous mood. But the atmosphere changes dramatically in the unique Largo, set in the dark key of B-flat minor. After nine bars of ominous unison brass fanfare punctuated with a startling cymbal clash, the bassoon enters with an extended solo lament, full of grief and desolation, shattering the prevailing reign of security and apparent good cheer. In a brilliant gesture of transformation, the bassoon then continues into the finale’s opening bars, where it takes up a jocular rollicking tune reminiscent of the ironically carnivalesque music Shostakovich wrote in his youth: the opera The Nose, the ballet The Golden Age. With this finale, perhaps Shostakovich meant to say that the time had come to remember happier, carefree times after the horror of war—and perhaps also that he refused to accept the role of cheerleader for Stalin, more puffed up than ever after the Soviet victory over Fascism.

Evgeny Mravinsky, who had conducted the premieres of Shostakovich’s Fifth, Sixth, and Eighth symphonies, led his august Leningrad Philharmonic in the first performance of the

week 1 program notes 29 30 Ninth in November 1945, on a festive occasion in the orchestra’s home city, which was still recovering from the 900 days of the barbaric Nazi siege. Serge Koussevitzky con- ducted the U.S. premiere the following summer, with the BSO at Tanglewood. A longtime advocate of Shostakovich’s music, Koussevitzky had hoped that the composer would come conduct it himself, but he was either unwilling or unable to accept the invitation. Soviet officials explained that such a visit “would become possible only when relations between both countries would be normalized.” The approaching Cold War was already putting a chill on Soviet-American cultural exchange that had flourished during the brief period of alliance against Hitler.

Even in the United States, the Ninth received a mixed reception in comparison to his pre- ceding compositions. With time, however, critical opinion on the Ninth became much more positive; it has become one of the most popular and frequently performed of all of Shostakovich’s fifteen symphonies. For Shostakovich himself, the Ninth marked a turning point and the end of an era. Eight long years would pass—until after the death of Stalin in 1953—before he would write another symphony.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. He has lectured for the Boston Symphony, Metropolitan Opera Guild, Carnegie Hall, and Lincoln Center; his books include “Sergei Prokofiev: A Biography” and “ in Hollywood, Hollywood’s Russians” (both from Northeastern University Press).

THEFIRSTBOSTONSYMPHONYPERFORMANCEOFSHOSTAKOVICH’SSYMPHONY NO. 9—THE AMERICAN PREMIERE (ASNOTEDABOVE)—took place on July 25, 1946, at Tanglewood, with Serge Koussevitzky conducting. Koussevitzky then repeated the work at Tangle- wood that same summer on August 10 in a performance that was broadcast, subsequently leading the Shostakovich Ninth in Boston, Providence, and Cambridge that October. Since then, the only BSO performances of the work until now were conducted by Richard Burgin in April 1962 (though led the visiting Philharmonic in a single BSO subscription-series performance on Friday night, December 2, 1994).

week 1 program notes 31

Pyotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-flat minor, Opus 23

PYOTR ILYICH TCHAIKOVSKY was born at Votkinsk, Vyatka Province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He composed his Piano Concerto No. 1 between November 1874 and February 21, 1875. The first performance took place at the Music Hall in Boston on October 25, 1875, with Hans von Bülow as soloist and B.J. Lang conducting (see page 36).

IN ADDITION TO THE SOLO PIANO, the score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Nikolai Grigorievich Rubinstein, who Tchaikovsky hoped would be the first to play his B-flat minor piano concerto and who did actually conduct the premiere of his first four symphonies, of Eugene Onegin, and of a whole run of shorter works including Romeo and Juliet, Marche slave, , the Suite No. 1, Capriccio italien, and the Variations on a Rococo Theme for and orchestra, was born in Moscow in 1835, trained in law as well as in music, and was director of the from its founding in 1866 until his death in 1881. He was younger brother to Tchaikovsky’s teacher, the famous , generally not quite so highly esteemed as a pianist, but considered the better conductor and teacher of the two. The list of Tchaikovsky premieres he led between 1866 and 1880 tells its own story of the closeness of the two men, but their encounter over the B-flat minor piano concerto was a disaster, Tchaikovsky having gone to Rubin- stein for advice (“he was not only the best pianist in Moscow but also a first-rate all- round musician,” wrote Tchaikovsky) only to be told that his work was “worthless and unplayable...beyond rescue...bad, vulgar...,” leaving the composer astonished and outraged.

A few years later, Tchaikovsky had a similar collision with Leopold Auer over the Violin Concerto. The two stories, moreover, had parallel happy endings. As Auer and pupils of his like Heifetz, Elman, Milstein, and Zimbalist eventually became particularly associated with the Violin Concerto, so did Rubinstein become an ardent champion of the Piano

week 1 program notes 33

Concerto, and his pupils Sergey Taneyev, , and Emil von Sauer constituted with Hans von Bülow, Vassily Sapelnikov, and Adele aus der Ohe the first generation of who established it as indispensable.

The premiere took place far from home, in Boston’s Music Hall, now the Orpheum Theatre on Washington Street. Hans Guido von Bülow, ten years older than Tchaikovsky, had a distinguished double career as pianist and conductor. He had been particularly associated with the Wagnerian movement, had led the premieres of Tristan and Meister- singer, and would later become an important interpreter of Brahms and give the young his first lift up the career ladder. Von Bülow’s young wife Cosima, daughter of , had by degrees left him for Wagner during the second half of the 1860s, and, much embittered, he retired from the concert stage for some years. He resumed his career in 1872 and in March 1874 gave a recital at the Bolshoi Theater in Moscow. Tchaikovsky was stirred by the combination of intellect and passion in von Bülow’s play- ing; von Bülow, in turn, liked Tchaikovsky’s music. Soon after, he took the opportunity of smuggling a good word for Tchaikovsky into an article on Glinka’s A Life for the Tsar: At the present moment we know but one other who, like Glinka, strives and aspires, and whose works—although they have not yet attained to full maturity—give complete assurance that such maturity will not fail to come. I refer to the young professor of composition at the Moscow Conservatory—Tchaikovsky. A beautiful string quartet of his has won its way in several German cities. Many other works by him merit equal

week 1 program notes 35 Program page for the first performance of Tchaikovsky’s Piano Concerto No. 1 on October 25, 1875, at the Boston Music Hall, one of “Dr. Hans von Bülow’s Concerts” with von Bülow as soloist and B.J. Lang conducting (BSO Archives)

36 Conductor/pianist Hans von Bülow (1830-1894), who was soloist in the 1875 premiere of Tchaikovsky’s Piano Concerto No. 1

recognition—his piano compositions, two symphonies, and an uncommonly interesting Romeo and Juliet Overture, which commends itself by its originality and its luxuriant melodic flow. Thanks to his many-sidedness, this composer will not run the danger of being neglected abroad as Glinka was.

Von Bülow was happy to accept the dedication in Rubinstein’s stead and made arrange- ments to introduce the “Grand Concerto (Op. 23) in B-flat,” as the program had it, at the fifth of a series of concerts in Boston. The audience was informed that the above grand composition of Tschaikowsky, the most eminent Russian maestro of the present day, completed last April and dedicated by its author to Hans von Bülow, has NEVER BEEN PERFORMED, the composer himself never having enjoyed an audition of his masterpiece. To Boston is reserved the honor of its initial representation and the opportunity to impress the first verdict on a work of surpassing musical interest.

Von Bülow sent the composer a telegram announcing the triumphant reception of the concerto, and Tchaikovsky spent most of his available cash, of which just then he had very little, on a return message. Von Bülow consolidated his success by repeating the concerto at his matinee five days later and upon his return to Europe introduced it as speedily as possible in London and at other musical centers. The Boston concert (see opposite page) was a strenuous one for von Bülow, who also played the Moonlight and Liszt’s version with orchestra of Schubert’s Wanderer Fantasy. (There were also overtures by Spohr and Beethoven, and Mendelssohn’s Wedding March to finish up with.) And one does wonder what it all sounded like with B.J. Lang’s orchestra with its four first violins!

The music needs no explication. Listeners of sufficient antiquity will remember that the

week 1 program notes 37 Program page for the first complete Boston Symphony performance of Tchaikovsky’s Piano Concerto No. 1 on February 21, 1885, with B.J. Lang as soloist and conducting (BSO Archives)

38 theme of the introduction flourished in the early ’40s as a pop song; the title was “Tonight we love,” and the meter was stretched on the rack from three beats in the measure to four. Tchaikovsky himself had borrowed two of the concerto’s other melodies: the hopping theme that starts the Allegro is a song traditionally sung by blind beggars in Little Russia, while the scherzo-like interlude in the middle of the second movement is a song, “Il fau s’amuser, danser et rire,” from the repertoire of Désirée Artôt, a superb Belgian soprano whom Tchaikovsky courted briefly in the winter of 1868-69.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the Symphony and . Oxford University Press has published three compilations of his program notes, devoted to symphonies, , and the great works for chorus and orchestra.

THEFIRSTAMERICANPERFORMANCE of Tchaikovsky’s B-flat minor piano concerto was the world premiere performance mentioned above, at the Boston Music Hall on October 25, 1875, with soloist Hans von Bülow and B.J. Lang conducting.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of music from this concerto was of just the first movement, on March 15, 1883, in Fitchburg, with soloist B.J. Lang and Georg Henschel conduct- ing. The BSO’s first complete performance, also with Lang as soloist, took place on February 21, 1885, under Wilhelm Gericke. Subsequent BSO performances featured Helen Hopekirk (with conducting), (), Teresa Carreño (Gericke, ), George W. Proctor (Gericke, Paur, Fiedler), (Paur); Josef Slivinski, Harold Randolph, and Harold Bauer (all with Gericke); Rudolph Ganz and Olga Samaroff (Karl Muck); and (Fiedler); Ruth Deys, Laeta Hartley, and Claire Forbes (Muck); Raymond Havens (); Edward Morris, Edith Thompson, and Carol Robinson (); Alexander Borovsky, Josef Lhévinne, Frank Sheridan, Ignace Hilsberg, , , Ella Goldstein, and (Serge Koussevitzky); (Charles Munch), (Monteux), Eugene Istomin (Eugene Ormandy), (), Misha Dichter (Leinsdorf, ), (Leinsdorf), (Fiedler), (); André Watts, , Weissenberg, , Ivo Pogorelich, and Andrei Nikolsky (Seiji Ozawa); (), Garrick Ohlsson (Joseph Silverstein and Valery Gergiev), Gutiérrez (Marek Janowski), Watts (Mariss Jansons); Evgeny Kissin (with the BSO at Carnegie Hall in October 1995), Cliburn, and Momo Kodama (Ozawa); (Paavo Järvo and ), (), Kirill Gerstein (the most recent Tanglewood performance, on July 2010, with Dutoit), and (the most recent subscription performances, in November 2012 with Giancarlo Guerrero).

week 1 program notes 39

Sergei Rachmaninoff “Symphonic Dances,” Opus 45

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his “Symphonic Dances” during the summer and fall of 1940, mostly at Orchard Point, , New York. The score is dedi- cated to Eugene Ormandy and the , who gave the first performance on January 3, 1941, in Philadelphia.

THE SCORE OF “SYMPHONIC DANCES” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, alto , two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, harp, piano, timpani, triangle, tambourine, bass drum, side drum, tam-tam, cymbals, xylophone, tubular bells, glockenspiel, and strings. The saxophonist in these performances is Thomas Martin.

Almost alone among the major Russian composers of his era—Tchaikovsky, Stravinsky, Glazunov, Prokofiev—Sergei Rachmaninoff didn’t write a single ballet. It’s not that he wasn’t interested. In a 1914 letter to conductor Alexander Ziloti, Rachmaninoff expressed his desire to “find a subject for a ballet,” although he admitted that he didn’t know any dancers, and that “for some reason I fear them!” In 1915 he began a collaboration with noted Moscow choreographer Kasyan Goleizovsky on a ballet to be called “The Scythians,” based on a poem by . But Prokofiev beat him to the punch by com- pleting his Scythian Suite the same year, and the project was abandoned. (Goleizovsky later claimed that Rachmaninoff incorporated some of the music he wrote for “The Scythians” into Symphonic Dances, but there is no hard evidence to support this claim.) In 1916, the brilliant stage director Vsevolod Meyerhold and the dancer Mikhail Mordkin approached Rachmaninoff with another ballet proposal, this one based on stories of , but that, too, never advanced beyond the planning stage. Highly self-critical and something of a loner, Rachmaninoff may have been temperamentally unsuited to deal with the messy collaborative conditions necessary for the creation of a new dance piece.

Even so, Rachmaninoff’s atmospheric and emotionally rich music has attracted numerous

week 1 program notes 41 Program page for the first Boston Symphony Orchestra performances of Rachmaninoff’s “Symphonic Dances” on October 17, 18, and 19, 1974, with Seiji Ozawa conducting (BSO Archives)

42 choreographers. His Rhapsody on a Theme of Paganini was set to dance several times, during the composer’s lifetime by his friend Mikhail Fokine (as Paganini for Colonel de Basil’s Ballets Russes in London in 1939) and afterwards by (for the Bolshoi in 1960). In the 1953 Hollywood feature The Story of Three Loves, directed by Vincente Minnelli and Gottfried Reinhardt, Moira Shearer (of Red Shoes fame) performs a ballet choreographed by Frederick Ashton to the Paganini Variations—and then drops dead. Other symphonic and piano works by Rachmaninoff have been staged by such choreographers as Walter Gore, Christian Holder, Ben Stevenson, Riccardo Duse, and Patrice Montagnon.

When he began composing what became his Symphonic Dances in 1940—while recover- ing at a luxurious Long Island waterfront estate from an exhausting season that had included forty-one concert appearances—Rachmaninoff had in mind another possible collaboration with Fokine, a follow-up to Paganini. Fokine even lived nearby. So inspired was Rachmaninoff that he managed to complete the piano score in a matter of weeks (working from nine in the morning to eleven at night, only stopping for one hour in the afternoon to rest). On August 21, he wrote to his friend Eugene Ormandy, conductor of the Philadelphia Orchestra, with whom he had developed a close partnership during his years living in America, that he had finished “a new symphonic piece, which I naturally want to give first to you and your orchestra.”

Rachmaninoff also played fragments for Fokine. The choreographer responded with a letter. “Before the hearing I was a little scared of the Russian element that you had mentioned, but yesterday I fell in love with it, and it seemed to me appropriate and beautiful.” Fokine admitted that he found the waltz rhythm of the second movement problematical, however: “The valse rhythm seems to disturb you, to handicap you.... The thought of dancing is a side issue. If the joy of creating dances to your music is again given me, I should not at all feel the need for this rhythmic support.”

But the collaboration Rachmaninoff so strongly desired with Fokine on Symphonic Dances never materialized, for reasons that remain unclear. Rachmaninoff’s very busy touring schedule, his declining health, and his move to Los Angeles made it difficult for the two men to focus on the project. Fokine’s death on August 22, 1942, brought an end to their friendship and the possibility of a ballet. When he was informed of Fokine’s passing, Rachmaninoff wrote, “What a great sorrow! Chaliapin, Stanislavsky, Fokine—this was an epoch in art. Now all are gone! And there’s no one to take their place. Only trained wal- ruses are left, as Chaliapin used to say.” At the time, Rachmaninoff himself had less than a year to live.

Symphonic Dances was Rachmaninoff’s last major orchestral work, and one of only four (with Rhapsody on a Theme of Paganini, the Third Symphony, and the Fourth Piano Concerto) that he had composed since leaving Russia forever in 1917, at the age of forty-four. All four were given their premieres by the Philadelphia Orchestra. Despite Fokine’s claim that Symphonic Dances possessed a strong “Russian element,” in fact the work sounds more “American” than anything else Rachmaninoff composed. The music is optimistic in

week 1 program notes 43

A 1939 photo of Rachmaninoff with fre- quent collaborator Eugene Ormandy, who led the premiere of “Symphonic Dances” with the Philadelphia Orchestra in 1941

personality, indulging less in the sorrowful nostalgia heard so often in Rachmaninoff, with a strong rhythmic drive, energy, and a pungent harmonic language that at moments recalls Stravinsky or Prokofiev. The prominent use of the in the first movement’s glowing, lyrical second theme seems informed by jazz. Indeed, in a newspaper interview he remarked that he considered calling the piece just “Dances,” “but I was afraid people would think I had written dance music for jazz .” Significantly, Rachmaninoff (who tinkered endlessly with the scores of the Third Symphony and Fourth Piano Concerto) never revised Symphonic Dances, and considered it (according to his sister-in-law Sofia Satina) “his best composition.”

In form, Symphonic Dances suggests a symphony in three movements. The first (marked “Non allegro”) opens with a snap: a strong rhythmic pulse announced quietly first in the violins on insistently repeated eighth-notes on the note C, then taken up by the other strings and the timpani. Over this infectious toe-tapping foundation, the woodwinds sing a jaunty tune shaped in descending intervals of a fifth, followed by a highly punctuated series of chords that recall the shape of the tune of the from the Requiem Mass, a motif Rachmaninoff had used in several major orchestral works, including the Rhapsody on a Theme of Paganini. At rehearsal number 10, the mood changes (poco a poco rallentando), leading to the introduction of one of the composer’s most seductive melodies, given to the alto saxophone. (At the time, the saxophone was still a novelty in serious concert music, although it had been used by Bizet, Ravel, Glazunov, and recently by Prokofiev in Romeo and Juliet.) The lean combination of here (the plush saxo- phone sound against sour accompaniment from oboes, clarinets, and English horn, with no strings) is stunning for Rachmaninoff, who tended in his preceding symphonic com- positions to rely heavily (even too heavily) on the strings for emotional effect. After this haunting central episode the main themes return in a recapitulation section, with further references to the Dies irae motif, a unifying idea for the entire work.

week 1 program notes 45

The second movement—Andante con moto (Tempo di valse)—builds the strongest link to the world of dance, the well-worn form of the waltz. But this is a waltz notably lacking in confidence, stuttering as it begins in fragmentary rhythm, then switching between 6/8, 3/8, and 9/8 meter. Rachmaninoff adds the marking “Tempo rubato” at several strategic points, so the waltz tempo ebbs and flows, leaving the listener slightly off-balance, expecting a certainty that never completely materializes. It is a masterful conceit, and one that recalls other modernist deconstructions of the waltz form, especially Ravel’s La Valse of 1920.

Rachmaninoff’s obsession with the Dies irae motif dominates the final movement (Lento assai—Allegro vivace). Another pointed religious reference is made to the music Rachmani- noff himself wrote for the ninth section (“Blagosloven yesi gospodi”—“Blessed be the Lord”) of his All-Night Vigil, completed in 1915 during World War I. This theme comes from an ancient Orthodox liturgical chant and acts as an affirmative to the pessimism of the message of the Dies irae. These two ideas intertwine in colorful and dramatic variations, by turns dark and triumphant, colored by the tolling of the tubular bells and contrasted with a serene middle section featuring a lamenting falling figure in the strings that seems to recall times gone by.

The nostalgic mood is broken by brass fanfares that lead into the finale, where the Dies irae motif emerges triumphantly. Just before the coda, where the chant tune reappears, Rachmaninoff wrote in the score the word “Alliluya,” followed by a citation of the alliluyas from the All-Night Vigil. In the Vigil, the alliluyas mark the end of the narration of Christ’s Resurrection. So at a time when the world was plunging into the terrible darkness of World War II, Rachmaninoff seems to be telling us that life will conquer death. At the end of the score, he wrote, “I thank Thee, Lord,” an expression of gratitude for a remark- able life of creativity.

Harlow Robinson

THEFIRSTAMERICANPERFORMANCE of Rachmaninoff’s “Symphonic Dances” was (as noted above) the world premiere, given by Eugene Ormandy and the Philadelphia Orchestra on January 3, 1941.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of “Symphonic Dances” were given by Seiji Ozawa on October 17, 18, and 19, 1974, followed by a Carnegie Hall performance that October 26, subsequent BSO performances being given by Andrew Davis, Charles Dutoit, Mariss Jansons, Carlos Miguel Prieto, Robert Spano (the most recent subscription performances prior to this season, in April 2014), and Andris Nelsons (the most recent Tanglewood performance, on July 12, 2014).

week 1 program notes 47

To Read and Hear More...

Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently available as a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 film starring Ben Kingsley as Shostakovich. David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (University of Washington paper- back). Also useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press).

This week’s performances of Shostakovich’s Symphony No. 9 are being recorded for a future release in the ongoing BSO/Deutsche Grammophon series “Shostakovich Under Stalin’s Shadow.” In the meantime, there are recordings of the Ninth conducted by Valery Gergiev with both the Mariinsky Orchestra (Mariinsky) and Kirov Theatre Orchestra (Philips), Bernard Haitink with the London Philharmonic (Decca), Mariss Jansons with the (Warner Classics), with the Royal Liverpool Phil- harmonic (Naxos), and the composer’s son, Maxim Shostakovich, with the Prague Symphony Orchestra (Supraphon). Serge Koussevitzky recorded Shostakovich’s Symphony No. 9 with the BSO in 1946/47 for RCA (reissued on the 1999 Biddulph CD “Serge Koussevitzky Conducts Russian Music”).

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton). The Piano Concerto No. 1 is discussed in volume II, “The Crisis Years: 1874- 1878.” Brown is also the author of Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Brown discusses Tchaikovsky’s concertos in his chapter on “The Concerto in Pre-Revolutionary Russia” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and its wealth of illustrations (Scribners). Anthony Holden’s Tchaikovsky

week 1 read and hear more 49 is a single-volume biography that gives ample space to the theory that Tchaikovsky com- mitted suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study also takes a close look at this question (Oxford). Michael Steinberg’s The Concerto–A Listener’s Guide includes his pro- gram notes on Tchaikovsky’s two piano concertos, the Violin Concerto, and his Variations on a Rococo Theme for cello and orchestra (Oxford paperback).

There have been three Boston Symphony recordings of Tchaikovsky’s Piano Concerto No. 1: with Arthur Rubinstein under the direction of Erich Leinsdorf, from 1963; with Misha Dichter, also under Leinsdorf, from 1966 (both RCA); and with , under , from 1979 (Philips). Evgeny Kissin recorded the concerto with and the Berlin Philharmonic (Deutsche Grammophon). The countless other

week 1 read and hear more 51 recordings include ’s with Charles Dutoit and the Royal Philharmonic (Deutsche Grammophon), Yefim Bronfman’s with Mariss Jansons and the Bavarian Radio Symphony Orchestra (Sony), Van Cliburn’s prizewinning 1958 Tchaikovsky Competition performance with Kiril Kondrashin and the Moscow Philharmonic (Testament) or his famous commercial recording with Kondrashin conducting the RCA Symphony Orchestra (RCA), Vladimir Horowitz’s April 1943 Carnegie Hall performance with and the NBC Symphony (RCA, not to be confused with their poor-sounding 1941 commercial recording), ’s with and the Symphony Orchestra (Deutsche Grammophon), and Daniil Trifonov’s with Valery Gergiev and the St. Petersburg Mariinsky Theatre Orchestra (Mariinsky).

Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the Master Musicians series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer, Pianist, Con- ductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rachmaninoff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press).

Recordings of the Symphonic Dances include Charles Dutoit’s with the Philadelphia Orchestra (originally RCA, reissued on Newton Classics), Valery Gergiev’s live with the London Symphony Orchestra (LSO Live), Mariss Jansons’s with the St. Petersburg Phil- harmonic (EMI), Vladimir Jurowski’s live with the London Philharmonic (LPO), Vasily Petrenko’s with the Royal Liverpool Philharmonic (Avie), and Yuri Temirkanov’s with the St. Petersburg Philharmonic (Signum). Rachmaninoff’s own four-hand piano version of the Symphonic Dances has been recorded by Emanuel Ax and Yefim Bronfman (Sony) and by Martha Argerich and Nelson Freire (Deutsche Grammophon).

Marc Mandel

week 1 read and hear more 53

Guest Artist

Evgeny Kissin

Evgeny Kissin’s extraordinary virtuosity has earned him the veneration and admiration of music lovers worldwide. He has appeared with many of the world’s great conductors, including Abbado, Ashkenazy, Barenboim, Dohnányi, Giulini, Levine, Maazel, Muti, and Ozawa, as well as with all the great orchestras of the world. Mr. Kissin was born in Moscow in October 1971 and began playing by ear and improvising on the piano at age two. At six he entered the Moscow Gnessin School of Music, where he was a student of Anna Pavlovna Kantor, who has remained his only teacher. He made his concerto debut at ten playing Mozart’s piano concerto, K.466, and gave his first solo recital in Moscow one year later. He came to international attention in March 1984 when, at twelve, he performed Chopin’s two piano concertos in the Great Hall of the Moscow Conservatory with the Moscow State Philharmonic under Dmitri Kitaenko. This concert was recorded live by Melodiya, and a two-LP album was released the following year, with five more Melodiya LPs of live Kissin performances from Moscow released over the next two years. Mr. Kissin’s first appearances outside Russia were in 1985, in Eastern Europe, followed a year later by his first tour of . In December 1988 he performed with Herbert von Karajan and the Berlin Philharmonic in a New Year’s concert that was broadcast internationally. In 1990 he made his first appearance at the BBC Promenade Concerts in London, as well as his North American debut performing both Chopin piano concertos with and the New York Philharmonic. The following week, he opened Carnegie Hall’s centennial season with a debut recital recorded live by BMG Classics. He performed at the 1992 Grammy Awards Ceremony broadcast live to an audience estimated at over one billion; became Musical

week 1 guest artist 55

America’s youngest Instrumentalist of the Year in 1995, and in 1997 received the prestigious Triumph Award for his outstanding contribution to Russia’s culture, again the youngest-ever recipient. His recordings have also received numerous awards, including the Grammy, the Edison Klassiek, the Diapason d’Or and the Grand Prix of La Nouvelle Academie du Disque, and he was named 2002 Echo Klassik Soloist of the Year. His most recent Grammy, in 2010, was for his EMI recording of Prokofiev’s Piano Concertos Nos. 2 and 3 with the Philharmonia Orchestra under Vladimir Ashkenazy. Mr. Kissin is the subject of Christopher Nupen’s doc- umentary film Evgeny Kissin: The Gift of Music, which was released in 2000 on video and DVD by RCA Red Seal. Evgeny Kissin made his Boston Symphony debut in July 1991, per- forming Mozart’s B-flat piano concerto, K.595, at Tanglewood. He has since performed concertos of Rachmaninoff (No. 3, also recorded with Seiji Ozawa and the orchestra for RCA), Tchaikovsky, Prokofiev, Brahms, Chopin, and Grieg with the BSO, most recently in March/April 2011 in subscription concerts pairing Chopin’s piano concerto and the Grieg Piano Concerto in a single program with John Nelson conducting.

week 1 guest artist 57 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 Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

58 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger 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 ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet Krentzman ‡ • 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 • 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 • 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 • 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 (7)

‡ Deceased

week 1 the great benefactors 59

The Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 17, 2015. For further information on becoming a Higginson Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O'Block • William and Lia Poorvu • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

weeks 1 the maestro circle 61 encore $25,000 to $49,999 Noubar and Anna Afeyan • Jim and Virginia Aisner • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Mr. and Mrs. Jeffrey E. Marshall • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Vernon R. Alden • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Lloyd Axelrod, M.D. • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg • Jill K. Conway • Ernest Cravalho and Ruth Tuomala • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Pamela Everhart and Karl Coiscou • Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. David Fromm • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Dr. Rebecca Henderson • Mrs. Nancy R. Herndon • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip Sharp • Solange Skinner • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (7)

weeks 1 the higginson society 63 sponsor $5,000 to $9,999 Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Phyllis Dohanian • Happy and Bob Doran • Julie and Ronald M. Druker • Mrs. Richard S. Emmet • Priscilla Endicott • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Seth A. and Beth S. Klarman • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Ms. Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Dale and Robert Mnookin • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. and Mrs. Michael Rater • Peter and Suzanne Read • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Mr. and Mrs. William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Mr. James Sun • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Diana O. Tottenham • John Travis • Marc and Nadia Ullman • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Matthew and Susan Weatherbie • Ruth and Harry Wechsler • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8)

weeks 1 the higginson society 65 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O'Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Mr. and Mrs. Frederic D. Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Marion and Philip Bianchi • Mrs. Stanton L. Black • Dr. and Mrs. Neil R. Blacklow • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mrs. Assunta Cha • Yi-Hsin Chang and Eliot Morgan • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Dr. and Mrs. Francis de Marneffe • Pat and John Deutch • Relly and Brent Dibner • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. and Mrs. Gerald L. Dreher • Mr. David L. Driscoll • Mrs. William V. Ellis • Peter Erichsen and David Palumb • Elizabeth and Frederic Eustis • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. ‡ Freedman • Martin Gantshar • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Nelson S. Gifford • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Adele C. Goldstein • Paula S. Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen •

66 Mary and Harry Hintlian • Mr. and Mrs. Peter K. Hoffman • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • Cerise Lim Jacobs, for Charles • Mr. and Mrs. William Jannen • Susan Johnston • Ms. Teresa Kaltz • Elizabeth • Mary S. Kingsbery • Margaret and Joseph Koerner • Susan G. Kohn • Dr. and Mrs. David Kosowsky • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. William Leatherman • Emily Lewis • Alice Libby and Mark Costanzo • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Mr. Vincent J. Mayer and Ms. Dana Lee • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Anne M. Morgan • Robert and Jane Morse • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Bob and Kathryn O’Connell • John O’Leary • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Mr. Peter Parker and Ms. Susan Clare • Dr. and Mrs. Bruce Pastor • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Mr. Richard Rawal • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Jordan S. Ruboy, M.D. ‡ and Richard S. Milstein, Esq. • Joanne Zervas Sattley • Jonathan Saxton • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Betsy and Will Shields • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanfill • In honor of Ray and Maria Stata • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Mr. John Stevens and Ms. Virginia McIntyre • Fredericka and Howard Stevenson • Galen and Anne Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Samuel Thorne • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Mr. and Mrs. Christopher Viehbacher • Ms. Ellen B. Widmer • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • The Workman Family • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (11)

weeks 1 the higginson society 67 BSO Season Sponsors 2015–16 Season

Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2015-16 season. Bank of America's support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that deliver the visual Miceal Chamberlain and performing arts, provide inspirational and educational sustenance, Massachusetts President, anchor communities, create jobs, augment and complement existing school Bank of America offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

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

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

68 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman and CEO outreach programs give both area students and students from around the globe the opportunity to experience great performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

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

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

week 1 bso season sponsors and season supporting sponsors 69

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 • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/Audition Coordinator 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 • Angelina Collins, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 1 administration 71 72 development

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 Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, 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, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician 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, Director of Tanglewood Facilities 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 1 administration 73 74 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • 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 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

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 Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager box office representatives Jane Esterquest • Arthur Ryan event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

week 1 administration 75

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Gerald L. Dreher Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Trish Lavoie • Leah Lee Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Carolyn Ivory boston project leads 2015-16

Café Flowers, Stephanie Henry and Kevin Montague • Series, Rita Richmond and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, George Mellman • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Richard Pokorny • Recruitment, Retention, Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 1 administration 77 Next Programs…

Tuesday, October 6, 8pm Friday, October 16, 8pm

andris nelsons conducting

prokofiev “alexander nevsky,” opus 78, cantata for mixed chorus and orchestra, with mezzo-soprano (words by v. lugovskoy and s. prokofiev) Russia Beneath the Yoke of the Mongols Song about Alexander Nevsky The Crusades in Pskov “Arise, People of Russia” The Battle on the Ice The Field of the Dead nadezhda serdyuk, mezzo-soprano tanglewood festival chorus, james bagwell, guest chorus conductor

{intermission}

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

In this program, Andris Nelsons pairs two very different Russian works written within a year of one another. He and the BSO are joined by the Tanglewood Festival Chorus and Moscow-born mezzo- soprano Nadezhda Serdyuk for Sergei Prokofiev’s cantata Alexander Nevsky, a 1939 concert piece derived from his music to Sergei Eisenstein’s great film of the same name. The dramatic cantata evokes the life of a 13th-century Russian hero. Completed the following year in the United States, Sergei Rachmaninoff’s Symphonic Dances is a symphony-like three-movement work, by turns lively and lyrical, featuring brilliantly imaginative instrumentation.

78 Thursday, October 8, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am in Symphony Hall) Thursday, October 8, 8pm Friday, October 9, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 10, 8pm andris nelsons conducting currier “divisions” for orchestra (2014) (boston symphony orchestra co-commission) beethoven piano concerto no. 3 in c minor, opus 37 Allegro con brio Largo Rondo: Allegro lars vogt

{intermission} brahms symphony no. 2 in d, opus 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

The Grawemeyer Award-winning American composer Sebastian Currier’s Divisions was co-commissioned by the BSO with the Seattle Symphony Orchestra and the National Orchestra of to commemorate the centennial of World War I. The title’s meaning refers to both the military connotation of “divisions” as well as to its 16th-century usage as a set of instrumental variations. Two strongly contrasting 19th-century works balance the program. German pianist Lars Vogt plays Beethoven’s Piano Concerto No. 3, which simultaneously looks back to the influence of Mozart and forward to the composer’s “heroic” style. Brahms’s Second Symphony is one of the composer’s most gracious and sunny works—but with striking formal innovations. Please note that in these concerts, Lars Vogt replaces Paul Lewis, who is unable to travel for six weeks while recuperating from a successful but unanticipated surgical procedure.

week 1 next programs 79

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.

Tuesday ‘B’ October 6, 8-9:45 Thursday ‘D’ October 15, 8-10 Friday Eve October 16, 8-9:45 Saturday ‘B’ October 17, 8-20 ANDRISNELSONS, conductor ANDRISNELSONS, conductor NADEZHDASERDYUK, mezzo-soprano CHRISTINEGOERKE, soprano (Elektra) TANGLEWOOD FESTIVAL CHORUS, GUN-BRITBARKMIN, soprano (Chrysothemis) JAMESBAGWELL, guest chorus conductor JANEHENSCHEL, mezzo-soprano (Klytämnestra) PROKOFIEV Alexander Nevsky GERHARDSIEGEL, tenor (Aegisth) (cantata) JAMESRUTHERFORD, (Orest) RACHMANINOFF Symphonic Dances NADEZHDASERDYUK, mezzo-soprano (1st Maid) CLAUDIAHUCKLE, contralto (2nd Maid) MARYPHILLIPS, mezzo-soprano (3rd Maid) Thursday, October 8, 10:30am (Open Rehearsal) SANDRALÓPEZ, soprano (4th Maid) Thursday ‘A’ October 8, 8-10:05 REBECCANASH, soprano (5th Maid) Friday ‘B’ October 9, 1:30-3:35 NADINESECUNDE, soprano (Overseer) Saturday ‘A’ October 10, 8-10:05 ELIZABETHBYRNE, soprano (Klytämnestra’s ANDRISNELSONS, conductor Confidante) LARSVOGT, piano MEREDITHHANSEN, soprano (Klytämnestra’s CURRIER Divisions (BSO co-commission) Trainbearer) BEETHOVEN Piano Concerto No. 3 MARK SCHOWALTER, tenor (Young Servant) BRAHMS Symphony No. 2 KEVINLANGAN, bass (Orest’s Guardian; Old Servant) TANGLEWOOD FESTIVAL CHORUS, JAMESBAGWELL, guest chorus conductor STRAUSS Elektra, Opera in one act Concert performance without intermission; sung in German with English supertitles

Programs and artists subject to change.

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 $6.50 handling fee for each ticket ordered by phone or online.

week 1 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. 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 $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are 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. 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.

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 1 symphony hall information 83 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 and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $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 and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call 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 $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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.

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