Summer 2013 Boston Symphony Orchestra

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boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Programs copyright ©2013 Boston Symphony Orchestra Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st cen- turies. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 1 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 1 p.m., and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2013

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

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013, leads the BSO in Verdi’s Requiem at Tanglewood this summer on July 27 (with Kristīne Opolais among the soloists), and, as BSO Music Director Designate, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in (photo ©Marco Borggreve) October, followed by a one-night-only concert performance of Richard Strauss’s opera Salome in March. “I am deeply honored and touched that the Boston Symphony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, July 5, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Wolf and Tchaikovsky

Friday, July 5, 8:30pm 10 BOSTON SYMPHONY ORCHESTRA RAFAEL FRÜHBECK DE BURGOS conducting; JOSHUA BELL, violin All-Tchaikovsky program

Saturday, July 6, 8:30pm 19 BOSTON SYMPHONY ORCHESTRA RAFAEL FRÜHBECK DE BURGOS conducting; ANNE SOFIE VON OTTER, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS; PALS CHILDREN’S CHORUS Mahler’s Symphony No. 3

Sunday, July 7, 2:30pm 36 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting; VINCE GILL, special guest

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 5, are violinist Joshua Bell and mezzo- soprano Anne Sofie von Otter. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY Stu Rosner

TANGLEWOODWEEK 1 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, July 5, 6pm Florence Gould Auditorium, Seiji Ozawa Hall SUPPORTED BY BERKSHIRE MONEY MANAGEMENT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA ELITA KANG, violin (1st violin in Tchaikovsky) JULIANNE LEE, violin (1st violin in Wolf) STEVEN ANSELL, viola (Wolf; 1st viola in Tchaikovsky) REBECCA GITTER, viola OWEN YOUNG, cello THOMAS VAN DYCK, double bass

WOLF “Italian Serenade,” for string quartet

TCHAIKOVSKY “Souvenir de Florence,” Opus 70, for string sextet Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

NOTES ON THE PROGRAM

Hugo Wolf (1860-1903) was first and foremost a vocal composer. His songs—there are several hundred—represent for many a pinnacle of the Lied genre in the second half of the nineteenth century. Like Schubert, Wolf grew up in an environment in which his earliest compositional efforts were performed by friends and extended family at the family home at Windischgraz, Styria (now Slovenj Gradec, in Slovenia). His Romantic inclinations led him to poetry, and he was to become the most prolific and sensitive composer of art songs of his generation. Talented but prone to mood swings and uninterested in anything but music, at fifteen he was allowed to move to Vienna to stay with an aunt while he attended the Vienna

2 Conservatory. (There he became friendly with Mahler, also a conservatory student at that time.) The development of his style was affected by hero-worship of Wagner, whom he met briefly in 1875. A later encounter with the gruff Brahms in 1879 solid- ified his membership in the pro-Wagner and Liszt, anti-Brahms camp. By that time, he had been dismissed from the Conservatory for disciplinary reasons, and was making a living teaching music to the children of well-to-do Viennese families (a situation, given his impatience for this vocation, that amounted to patronage). Throughout his life, in spite of some successes, he was frustrated by lack of opportunity for performances of his music. With the exception of orchestrations of his songs, the Italian Serenade in its expanded scoring for string orchestra is the only Wolf work to be heard with any frequency in the orchestral repertoire. The piece began life as it is performed here, however—as a movement for string quartet. He wrote the piece in 1887, later deciding to enlarge it as a suite for string orchestra in several movements, although this was never completed and the orchestral version remains just a single movement. Like a tiny symphonic poem, the piece seems to harbor a narrative of sorts with its strong themes and contrasting sections, worked out in a flowing, organic structure. Wolf, who had never been to Italy when he wrote this piece, seems to have been influenced as much by Franz Liszt’s fascination with and travels in Italy as by Liszt’s music. The first time Pyotr Ilyich Tchaikovsky (1840-1893) visited Florence with his brother Anatoly in the fall of 1877 he found it depressing. Nonetheless, something drew him back again and again, and he did some of his best work there—the Fourth Symphony, Eugene Onegin, the Suite for Orchestra No. 1, part of The Maid of Orleans, and much later The Queen of Spades. He owed the city what he thought of as “the happiest months of my life.” It was an escape from Moscow and at the same time it always made him nostalgic for home, marveling that as he basked in Tuscan sun- shine it was winter in Moscow, with “Muscovites, men and women, walking by... wrapped in furs, the quiet undisturbed by the noise of carriages, sleighs sliding silently by...” And once at least, to get to something more like home without actually returning, he left Florence for the colder March of Switzerland. In January 1890, Tchaikovsky, soon to be fifty, journeyed to Florence for what turned out to be the last time. On the last day of the month he began the score of The Queen of Spades, and he had made immense progress by the time he left at the end of March. As relaxation he turned to chamber music. The sketch of what was to be called Souvenir de Florence was completed in July and the full score in August: “I wrote it with the utmost pleasure and enthusiasm, and with no effort whatsoever,” he reported to his patroness Nadezhda von Meck (actually while work was still in progress). He arranged for a private hearing in November during the rehearsals for The Queen of Spades and on the basis of that resolved to rework the third and fourth movements. He was also busy with his opera Yolanta, with The Nutcracker, and the symphonic ballad The Voyevode, with the result that work on Souvenir de Florence was

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 3 not finished until January 1892. The first public performance was given at a concert of the St. Petersburg Chamber Music Society on December 6, 1892, the players being Leopold Auer, Emmanuel Krüger, Franz Hildebrandt, Sergey Korguyev, Alexander Verzhbilovich, and Alexander Kuznetsov. Three string quartets, the A minor piano trio, and Souvenir de Florence comprise Tchaikovsky’s major works for chamber ensemble. The Florentine sextet is the last and the finest, rich in expansive and often subtly harmonized melody, gorgeously scored, and aglow with vitality and love. Notes by ROBERT KIRZINGER (Wolf) and MICHAEL STEINBERG (Tchaikovsky) Composer/annotator Robert Kirzinger is the BSO’s Assistant Director of Program Publications. Michael Steinberg was program annotator of the BSO from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Artists

Elita Kang joined the Boston Symphony Orchestra at the start of the 1997-98 season and was appointed assistant concertmaster in February 2001, occupying the Edward and Bertha C. Rose Chair. She is also assistant concertmaster of the Boston Pops Orchestra. In the 2009-10 season, while on leave from the BSO, she served by invitation as acting assistant concertmaster of the Deutsches Sinfonie-Orchester Berlin. Ms. Kang received her bachelor’s degree from the Curtis Institute of Music in 1997; while at Curtis, she served as principal second violin and then concertmaster of the school’s symphony orchestra, and was also a substitute player with the Philadelphia Orchestra. Prior to her work at Curtis she studied at the Juilliard School’s Pre-College Division, where she served for two years as orchestra concertmaster. In addition to her performances with BSO colleagues, her chamber music experience has included performances at Curtis and the Taos School of Music. Ms. Kang twice won the Juilliard Concerto Competition and in 1992 won the Grand Prize in the America String Teachers Association Competition’s pre-professional division. Her teachers included Arnold Steinhardt, Yumi Ninomiya-Scott, Pamela Frank, Felix Galimir, Norman Carol, and Louise Behrend. A member of the Boston Symphony Orchestra since 2007, BSO acting assistant concertmaster Julianne Lee recently received the Presser Music Award. She made her solo debut at age seven with the Lake Placid Symphonietta and has also appeared as soloist with the KBS Symphony Orchestra in Korea and the Philharmonie Baden- Baden in Germany. Her chamber music collaborations include concerts with such renowned artists as Joseph Silverstein, Peter Wiley, Roger Tapping, Samuel Rhodes, and Arnold Steinhardt. Ms. Lee has participated in the Marlboro Music Festival and Santa Fe Chamber Music Festival and toured Europe with the Australian Chamber Orchestra as guest principal violist. She holds a bachelor’s degree in violin performance and a diploma in viola performance from the Curtis Institute of Music, where she studied with Victor Danchenko, Joseph Silverstein, and Joseph DePasquale. She received her master’s degree from the New England Conservatory of Music, working with Donald Weilerstein and Kim Kashkashian. Steven Ansell joined the Boston Symphony Orchestra as principal viola in September 1996, occupying the Charles S. Dana chair, having already appeared with the BSO in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co-founded in 1979, and with

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 5 which he has toured extensively throughout the world. A graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle, Mr. Ansell was named professor of viola at the University of Houston at twenty-one and became assistant principal viola of the Pittsburgh Symphony Orchestra under André Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS’s “In Performance at the White House,” has participated in the Tanglewood, Marlboro, Schleswig-Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals, and premiered Ezra Laderman’s Concerto for Viola and Orchestra with the Berkshire Symphony Orchestra. Mr. Ansell teaches at the Boston University College of Fine Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players. His appearances as soloist with the BSO have included music of Mozart, Bruch, Richard Strauss, and Berlioz. Born in Canada, violist Rebecca Gitter began studying Suzuki violin at seven and viola at thirteen. In May 2001 she received her bachelor of music degree from the Cleveland Institute of Music, where she was a student of Robert Vernon, having

6 previously studied in Toronto, Ontario. While at CIM she was the recipient of the Institute’s Annual Viola Prize and the Robert Vernon Prize in Viola, and twice received honorable mention in the school’s concerto competition, resulting in solo performances. Among other honors, she was the 2000 recipient of Toronto’s Ben Steinberg Jewish Musical Legacy Award and, prior to her BSO appointment, was offered a position in the Detroit Symphony Orchestra. She was a summer participant in the Taos School of Music, the Marlboro Festival, Ravinia’s Steans Institute for Young Artists, and the National Academy and National Youth Orchestras of Canada. Ms. Gitter joined the viola section of the Boston Symphony Orchestra in August 2001. Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo. Mr. Young’s performances have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Harrisburg, and WGBH in Boston. He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City. Mr. Young was previously on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; he is currently on the faculty of Berklee College of Music and is active in Project STEP (String Training and Education Program for students of color). From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. His teachers included Eleanor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. Mr. Young holds both bachelor’s and master’s degrees from Yale University. He was a Tangle- wood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Sym- phony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he joined the BSO in 1991. Owen Young occupies the John F. Cogan, Jr., and Mary L. Cornille chair in the orchestra’s cello section. Thomas Van Dyck joined the double bass section of the BSO in January 2013. An avid chamber musician, he is recipient of the Maurice Schwarz Prize at Tanglewood and the Lorraine Hunt Lieberson Prize, with performance credits including the Mostly Mozart Festival, New York City’s Town Hall and Carnegie Hall, the Kennedy Center, Boston Chamber Music Society, the chamber music series at Harvard Uni- versity’s Houghton Library, the Union College Chamber Music Series, Bay Chamber Concerts in Rockport (ME), the Kingston Chamber Music Festival (RI), the Morrison Chamber Music Series in San Francisco, and the Rockport Chamber Music Festival, among others. A former member of the New World Symphony, he also performed frequently as a guest with the San Francisco Symphony, Cincinnati Symphony, Detroit Symphony, and San Diego Symphony, and as a member of ECCO (East Coast Cham- ber Orchestra), which tours nationally. In addition to his diverse performance career, he has been artist-teacher of double bass at the Longy School of Music and guest teacher at the New England Conservatory, Boston Conservatory, San Francisco Conservatory, and Hartt School of Music.

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 7 Opening Night at Tanglewood Committee Friday, July 5, 2013

Gala Chairs Stephen and Dorothy Weber Gala Committee Liliana and Hillel Bachrach • Roberta and George Berry • Gregory Bulger and Richard Dix • Cynthia and Oliver Curme • Ursula Ehret-Dichter • Nancy E. Feldman and Mike Chefetz • Sanford and Isanne Fisher • Nancy J. Fitzpatrick and Lincoln Russell • Dr. Donald and Phoebe Giddon • Cora and Ted Ginsberg • Susie and Stuart Hirshfield • Larry and Jackie Horn • Valerie and Allen Hyman • Margery and Everett Jassy • Steve Kay and Lis Tarlow • Joyce Linde • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Martin Messinger • Claudia and Steven Perles • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Drs. Robin S. Richman and Bruce S. Auerbach • Arlene and Donald Shapiro • Scott and Robert Singleton • Lauren Spitz • Lynn and Ken Stark • Margery and Lewis Steinberg

Opening Weekend at Tanglewood sponsored by:

In-kind Donors

Be Our Guest • Boston Gourmet • High Output, Inc. • George and Carol Jacobstein • W.J. Deutsch & Sons, Ltd. • Winston Flowers

Special thanks to the Boston Symphony Association of Volunteers for their valuable event assistance. Walter H. Scott

8 Opening Night at Tanglewood Friday, July 5, 2013 The Boston Symphony Orchestra recognizes with gratitude the following individuals and companies for their generous support that have helped make this year’s Gala such a success.

$25,000 + Michael L. Gordon * • Joyce Linde * • Stephen and Dorothy Weber * $10,000 - $24,999 Liliana and Hillel Bachrach * • Roberta and George Berry * • Cynthia and Oliver Curme * • Beth and Richard Fentin * • Steve Kay and Lis Tarlow * • Carol and Joe Reich * $5,000 - $9,999 Robert and Elana Baum • Sanford and Isanne Fisher • Nancy J. Fitzpatrick and Lincoln Russell * • Valerie and Allen Hyman • Dorothy and Charles Jenkins • Jane and Robert J. Mayer, M.D. • Megan and Robert O’Block • The Claudia and Steven Perles Family • Claudio and Penny Pincus • Jonathan and Amy Poorvu • Drs. Robin S. Richman and Bruce S. Auerbach • Anonymous * $2,000 - $4,999 Black Thumb Farms • Lee and Sydelle Blatt • Jan Brett and Joseph Hearne • Gregory Bulger and Richard Dix • Bonnie and Terry Burman • Charles Cooney and Peggy Reiser • Ranny Cooper and David Smith • Donald G. Cornuet and Stephen M. Weiner • Eitan and Malka Evan • Nancy E. Feldman and Mike Chefetz • Marcia and Jonathan Feuer • Johanna and Leslie Garfield • Virginia and James Giddens • Dr. Donald and Phoebe Giddon • Cora and Ted Ginsberg • Harold Grinspoon and Diane Troderman • Ms. Molly Heines and Mr. Thomas Moloney • Susie and Stuart Hirshfield • Margery and Everett Jassy • Leslie and Stephen Jerome • David Lloyd and Meg Mortimer • Jay and Shirley Marks • Ann Merrifield and Wayne Davis • The Messinger Family • Mr. and Mrs. Raymond F. Murphy, Jr. • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Suzanne and Burton Rubin • Anne and Ernest Schnesel • Wendy Shattuck and Samuel Plimpton • Hannah and Walter Shmerler • Margery and Lewis Steinberg • Jacqueline and Albert Togut $1,000 - $1,999 Helaine B. Allen • Diane M. Austin and Aaron J. Nurick • Barrington Realty Trust- Ray and Mandy Pieczarka • Stephen Barrow and Janis Manley • Linda J. L. Becker • Gail and Stanley Bleifer • Beatrice Bloch and Alan Sagner • Carole and Dan Burack • Ellen Cohen and Dr. Robert Schwartz • James and Tina Collias • Judith and Stewart Colton • Mr. and Mrs. C. Jeffrey Cook • Elaine Sollar Eisen • Dr. T. Donald and Janet Eisenstein • Dr. Eric Fossel and Celeste Fossel • Stanley Friedman and Terri Shrifren • Audrey and Ralph Friedner • Rita Sue and Alan J. Gold • Wendy and Peter Gordon • Susan and Richard Grausman • Carol B. Grossman • Ronnie and Jonathan Halpern • Susan and Raymond Held • Larry and Jackie Horn • Joan and Jim Hunter • Mr. and Mrs. John Jerome • Gilbert Katz and Arlene Salzberg • Sara and Richard Koffman • Diane Krane and Myles Slosberg • Thomas and Diane Leavitt • Elaine and Ed London • Paula Lustbader and Herb Maneloveg • Rabbi Paul and Rita Menitoff • Wilma and Norman Michaels • Stephen and Patricia Peters • Mary Ann and Bruno Quinson • Ronald and Karen Rettner • Barbara and Michael Rosenbaum • Jim Rosenfield and Charlotte Rosenblatt • Carole and Edward I. Rudman • Joan and Michael Salke • Malcolm and BJ Salter • Dan Schrager and Ellen Gaies • Carol and Richard Seltzer • Mr. and Mrs. Emery Sheer • Scott and Robert Singleton • Gilda and Alfred Slifka • Lynn and Ken Stark • Norma and Jerry Strassler • Roger and Jerry Tilles • David G. Tuerck and Prema P. Popat • Robert and Vicki Weisman • Larry Weiss and Jerry Bowles • Robert and Roberta Winters • Marillyn A. Zacharis • Anonymous (3) $500 - $999 Jerome and Henrietta Berko • Charlene Castello • Ursula Ehret-Dichter • Sandra G. Krakoff • Lauren Spitz • Mrs. Herman H. Weiss * Designates Benefactor Table Purchaser List as of June 15, 2013

TANGLEWOODWEEK 1 OPENINGNIGHTATTANGLEWOOD 9 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, July 5, 8:30pm Opening Night at Tanglewood OPENING WEEKEND AT TANGLEWOOD SPONSORED BY CLEAN SLATE

RAFAEL FRÜHBECK DE BURGOS conducting

ALL-TCHAIKOVSKY PROGRAM

Violin Concerto in D, Opus 35 Allegro moderato—Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo JOSHUA BELL

{Intermission}

Symphony No. 5 in E minor, Opus 64 Andante—Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso—Allegro vivace— Moderato assai e molto maestoso

10 NOTES ON THE PROGRAM

Pyotr Ilyich Tchaikovsky (1840-1893) Violin Concerto in D, Opus 35 First performance: December 4, 1881, Vienna Philharmonic, Hans Richter cond., Adolf Brodsky, soloist. First BSO performances: January 1900, Wilhelm Gericke cond., Alexandre Petschnikoff, soloist. First Tanglewood performance: August 4, 1949, Serge Koussevitzky cond., Jascha Heifetz, soloist. Most recent Tanglewood performance: July 19, 2008, Leonard Slatkin cond., Midori, soloist. In his rich and perceptive four-volume biography of Tchaikovsky, David Brown de- votes the entire second volume to a narrow span of four years in the composer’s life, as indicated by the volume’s subtitle: “The Crisis Years, 1874-1878.” The crisis was a real one and it had complicated elements, both professional and personal. Its centerpiece was the composer’s catastrophic marriage, a step taken in the hope of stopping supposition about his homosexuality. He and his bride had scarcely started off on their honeymoon before the composer recognized the folly of his action. In torment, he ran away to Switzerland to try to forget. It was there that he composed the Violin Concerto. The marriage was by no means Tchaikovsky’s only crisis during those years. At the beginning of the period in question, he had composed a piano concerto for his close friend Nikolai Rubinstein, only to have the pianist declare the work worthless and unplayable. Utterly dismayed, Tchaikovsky finally managed to arrange a performance in far-away Boston—so that if it were a flop, he would not have to be present to hear it himself. Ironically that concerto rather quickly became one of the most popular of all piano concertos. Soon after, Tchaikovsky composed the ballet Swan Lake, arguably the finest ballet score of the entire nineteenth century, though it was a failure in its first production, and the composer went to his grave without ever knowing that the world would regard his work as a master- piece. There were some assorted triumphs, though. The Fourth Symphony—deeply etched with his Slavic fatalism—was not only a success, but marked one of the first major works that he composed with the extraordinary patronage of Nadezhda von Meck, who sent him a regular stipend for a dozen years on the strict understanding that they were never to meet. The grateful composer declared that in the future his every note would be composed with an implicit dedication to her. But in the aftermath of his marriage there was only flight—frantic determination to get away. His wife Antonina was staying at Kamenka with the composer’s sister and her husband. Letters passed back and forth between all the members of the family, with Antonina sometimes making wild charges (such as the one that Tchaikovsky’s valet had bewitched him into hating her), sometimes expressing hope for a reconcil- iation, despite Tchaikovsky’s repeated insistence that such a thing could never be. He spent some months in Italy, where several of his brothers joined him, and he gradually grew calmer in the contemplation of Italian art and the Italian countryside. But financial necessity forced him to find a cheaper place to stay, and on March 9, 1878, he arrived in Clarens, Switzerland. He quickly telegraphed his student, friend, and possible lover, the violinist Yosif Kotek, who was then in Berlin, to inform him of the change of address. On the thirteenth he began a piano sonata, his first act of composition since the wedding. The next day Kotek arrived in Clarens. Within a few days, Tchaikovsky abandoned the piano sonata, which was not going well. Within a day or two, he and Kotek played through Lalo’s Symphonie espagnole, which, in spite of its title, is a violin concerto. His interest in this piece (he noted that it had “a lot

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 11 of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies”) may well have turned his own mind in the direction of a violin concerto. He liked the way that Lalo does not strive after profundity, but carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans. Perhaps this experience persuaded him to give up the sonata entirely and turn to a concerto, particularly since he had a violinist at hand to give him technical advice about the solo part. On March 17 he began the new piece and discovered to his delight that—unlike the piano sonata—it went easily. In just eleven days he sketched the entire concerto. The composer’s brother Modest and Kotek expressed reserva- tions about the slow movement, though they were enthusiastic about the two outer movements. Upon consideration, Tchaikovsky agreed with them, and on April 5 he replaced the original slow movement with a new piece. The enthusiasm of all three men was so great that Tchaikovsky finished the orchestration, too, in short order. By April 11 the concerto was complete. Now, however, he was in for another professional crisis—a repetition of his experience with the First Piano Concerto. He dedicated the new work to Leopold Auer, hoping naturally that he would play the first performance, which was, in fact, adver- tised for March 22, 1879. The work had already been published, and Auer regretted (so he wrote thirty years later) that he had not been consulted before the work had been fixed in print. Auer is supposed to have declared the work to be “unplayable,” though he later defended himself by explaining that he meant only that, as written, some of the virtuoso passages would not sound as they should. In any case, Tchaikovsky was deeply wounded. Kotek himself declined to play the work in Russia. Two years later Tchaikovsky learned from his publisher that Adolf Brodsky had learned the piece and was planning to play it in Vienna. That performance, which took place at the end of 1881, called forth one of the most notorious reviews by Vienna’s conservative music critic Eduard Hanslick. Tchaikovsky never got over it; to the end of his life he could quote it by heart. The Russian composer Tchaikovsky is surely no ordinary talent, but rather, an inflated one, obsessed with posturing as a genius, lacking discrimination and taste.... The same can be said for his new, long, and ambitious Violin Concerto. For a while it proceeds soberly, musically, and not mindlessly, but soon vulgarity

12 gains the upper hand and dominates until the end of the first movement. The violin is no longer played; it is tugged about, torn, beaten black and blue.... The Adagio is well on the way to reconciling us and winning us over, but it soon breaks off to make way for a finale that transports us to the brutal and wretched jollity of a Russian church festival. We see a host of savage, vulgar faces, we hear crude curses, and smell the booze. In the course of a discussion of obscene illus- trations, Friedrich Vischer once maintained that there were pictures which one could see stink. Tchaikovsky’s Violin Concerto for the first time confronts us with the hideous idea that there may be compositions whose stink one can hear. Hanslick, sitting in Vienna, found Russia, and everything Russian, as represented in Tchaikovsky’s music, to be uncivilized. How ironic that, among his contemporaries, Tchaikovsky was regarded as the westernized Russian, the one who had spurned the truly nationalistic approach of “The Five.” In any case, we have trouble today locating the “stink” in this music. For more than a century it has simply been one of the four or five most popular violin concertos in the literature, which is answer enough to Hanslick.

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

Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 5 in E minor, Opus 64 First performance: November 17, 1888, St. Petersburg, Tchaikovsky cond. First BSO performance: October 22, 1892, Arthur Nikisch cond. First Berkshire Festival performance: August 16, 1936, Boston Symphony Orchestra, Serge Koussevitzky cond. First Tangle- wood performance: August 11, 1940, Boston Symphony Orchestra, Koussevitzky cond. Most recent Tanglewood performance: July 29, 2012, Charles Dutoit cond. Since the premiere of his Fourth Symphony in 1878, ten years had gone by, years in which Tchaikovsky’s international reputation was consolidated, in which he had come to feel the need to give up his teaching at the Moscow Conservatory so as to have more time for composing, in which he began to be active as a conductor, in which he ﬁnished Eugene Onegin and three unsuccessful but not uninteresting operas (The Maid of Orleans, Mazeppa, and The Sorceress), in which he composed the Violin Concerto and the Second Piano Concerto, the three orchestral suites and Mozartiana, the Italian Capriccio, the Serenade for Strings, the 1812 Overture, the Vespers Service, the A minor trio, the Manfred Symphony, and some of his most appealing songs. Tchaikovsky himself led the premiere of his Fifth Symphony on November 26, 1888, in St. Petersburg. The Fourth had been the symphony of triumph over fate and was in that sense, and admittedly, an imitation of Beethoven’s Fifth. For Tchaikovsky’s own Fifth, we have nothing as explicitly revealing as the correspondence in which he set out the program of the Fourth for his patroness, Nadezhda von Meck. There is, however, a notebook page outlining a scenario for the ﬁrst movement: “Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro. (I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of faith???” XXX is less likely to be a particular person than what he usually refers to in his diary

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 13 14 as Z or THAT—his homosexuality, which caused him deep pain and which, in addition, terrified him as a potential cause of scandal. To pursue Tchaikovsky’s verbal plan through the first movement as he finally composed it is fruitless. (He also dis- liked attempts to interpret musical processes in too literal—and literary—a manner.) Clearly, though, the theme with which the clarinets in their lowest register begin the symphony has a function other than its musical one: it will recur as a catastrophic interruption of the second movement’s love song, as an enervated ghost that approaches the languid dancers of the waltz, and—in a metamorphosis that is perhaps the symphony’s least convincing musical and expressive gesture—in majestic and blazing E major triumph. Tchaikovsky’s wonderful gift of melody, his delight in “strong effects” and his skill at bringing them off, his fire and sentiment—these need neither introduction nor advocacy. As to the orchestra, Tchaikovsky produces remarkable effect with remarkable economy. His orchestra is anything other than extravagant, but the power and vividness of its fortissimo is amazing. And what delight there is in his delicate passages—the color of the low strings in the introduction (with those few superbly cal- culated interventions of the second violins); the beautifully placed octaves of clarinet and bassoon when the Allegro begins its melancholy and graceful song; the growls into which that movement subsides (with the timpani roll as the top note in a chord of cellos, basses, and bassoon); the low strings again in the measures that introduce the second movement’s famous horn solo; those great, swinging pizzicato chords that break the silence after the catastrophe; those faintly buzzing notes for stopped horns in the waltz; the enchantingly inventive filigree throughout the mid- dle part of that movement; those propulsive chuggings of cellos, basses, drums, and bassoons in the finale; the tough brilliance of the woodwind lines and the firmness of their basses. The composer’s own feelings about his Fifth Symphony blew hot and cold, not only about the music itself, but even as to whether he might have been “played out” as a composer. Of course Tchaikovsky had not written himself out. As soon as he returned from a journey to Prague, where the experience of conducting the Fifth produced the most depressed of all his reports on that work, he began work on The Sleeping Beauty. Within another year his finest operatic score, The Queen of Spades, was on its way, with The Nutcracker and Pathétique Symphony yet to come.

MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilations of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 15 Guest Artists

Rafael Frühbeck de Burgos A regular guest with North America’s notable orchestras, Rafael Frühbeck de Burgos conducts the major ensembles of Boston, Cincinnati, Detroit, Los Angeles, New York, Pittsburgh, and Toronto in the 2012-13 season. He appears annually at Tangle- wood, where he conducts both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and regularly with the Chicago Symphony, National Symphony, and Philadelphia Orchestra. Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the current season he assumes his post as chief conductor of the Danish National Orchestra. He has made exten- sive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra, and has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Frühbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. Rafael Frühbeck de Burgos has recorded extensively for EMI, Decca, Deutsche Grammophon, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Manuel de Falla. Rafael Frühbeck de Burgos made his Boston Symphony Orchestra debut in January 1971. Since an August 2000 appearance at Tanglewood, he has been a frequent guest leading the BSO in a wide range of repertoire both at Symphony Hall and at Tangle- wood. This summer at Tanglewood he leads three concerts with the Boston Symphony Orchestra (July 5, 6, and 14, including music of Tchaikovsky, Mahler, Stravinsky, Haydn,

16 and Beethoven) and conducts the Tanglewood Music Center Orchestra in Beethoven’s Symphony No. 5 (July 8). He returns to the Symphony Hall podium for two subscription programs in November, leading music of Mozart, Prokofiev, Schumann, Beethoven, Neikrug (the world premiere of the composer’s BSO-commissioned Concerto for Bassoon and Orchestra, with BSO principal Richard Svoboda), Falla, and Brahms.

Joshua Bell Joshua Bell is the recipient of the Avery Fisher Prize and music director of the Academy of St. Martin in the Fields. Their first United States tour garnered rave reviews, and their plan to perform and record all the Beethoven symphonies has begun with a recording of the symphonies 4 and 7 released in February 2013. Mr. Bell’s 2012 summer appearances included the premiere of Edgar Meyer’s new concerto for violin and double bass, performed by Messrs. Bell and Meyer at Tanglewood, Aspen, and the Hollywood Bowl. Mr. Bell also appeared at the Festival del Sole, and the Ravinia, Verbier, Salzburg, Saratoga, and Mostly Mozart festivals. In 2012-13 he opened the San Francisco Symphony’s season, followed by performances with the orchestras of Philadelphia, Boston, Seattle, Omaha, Cincinnati, and Detroit. Other season highlights included a tour of South Africa, a European tour with the Academy of St. Martin in the Fields, a European recital tour with Sam Haywood, a United States tour with the Cleveland Orchestra, a European tour with the New York Philharmonic, and performances with the Tucson, Pittsburgh, San Diego, and Nashville symphonies. Mr. Bell has released more than forty CDs and currently records exclusively for Sony Classical. Recent releases include “French Impressions,” a sonata album (Ravel, Saint-Saëns, and Franck) with Jeremy Denk, “At Home With Friends,” Vivaldi’s The Four Seasons, Tchaikovsky’s Violin Concerto, The Red Violin Concerto, “The Essential Joshua Bell,” “Voice of the Violin,” and “Romance of the Violin.” In 2004 Billboard named “Romance of the Violin” its Classical CD of the Year and Mr. Bell Classical Artist of the Year. Since his first LP recording at age eighteen, he has made critically acclaimed recordings of the Beethoven and Mendelssohn concertos (both featuring his own cadenzas), the Sibelius and Goldmark concertos, and the Nicholas Maw concerto. His recording “Gershwin Fantasy” premiered a new work for violin and orchestra based on themes from Gershwin’s Porgy and Bess. Its success led to an all-Bernstein recording that included the premiere of the West Side Story Suite as well as a new recording of the composer’s Serenade. Mr. Bell and his two sisters grew up on a farm in Bloomington, Indiana. As a child he was an avid computer game player and a competitive athlete. By age twelve he was serious about the violin, inspired by his beloved teacher Josef Gingold. He has made numerous television appearances (including five PBS “Live from Lincoln Center” broadcasts) and has been profiled in many publications. His alma mater, Indiana University, honored him with a Distin- guished Alumni Service Award only two years after his graduation in 1989. In 2011 he received the Paul Newman Award from Arts Horizons and the Huberman Award from Moment magazine. Named 2010 Instrumentalist of the Year by Musical America, he has performed for President Obama at Ford’s Theatre and the White House, and recently returned to the Capital to perform for Vice-President Biden and Vice-President of the People’s Republic of China, Xi Jinping. Joshua Bell performs on the 1713 Gibson ex Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte. For more information, visit www.joshuabell.com. Joshua Bell has appeared regularly with the Boston Symphony Orchestra since his Tanglewood debut in July 1989, including performances at Symphony Hall, Tanglewood, Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center, most recently for Symphony Hall performances of Bernstein’s Serenade (after Plato’s “Symposium”) in October 2012 with Marcelo Lehninger conducting.

TANGLEWOODWEEK 1 GUESTARTISTS 17

2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, July 6, 8:30pm OPENING WEEKEND AT TANGLEWOOD SPONSORED BY CLEAN SLATE

RAFAEL FRÜHBECK DE BURGOS conducting

MAHLER Symphony No. 3 First Part I. Kräftig. Entschieden. [Forceful. Decisive.]

Second Part II. Tempo di Menuetto. Sehr mäßig. Ja nicht eilen! Grazioso. [In minuet tempo. Very moderate. Don’t hurry! Graceful.] III. Comodo. Scherzando. Ohne Hast. [Easygoing. Jesting. Without haste.] IV. Sehr langsam. Misterioso. Durchaus ppp. [Very slow. Mysterious. ppp throughout.] Words by Nietzsche V. Lustig im Tempo und keck im Ausdruck. [Cheerful in tempo and jaunty in expression.] VI. Langsam. Ruhevoll. Empfunden. [Slow. Peaceful. Deeply felt.]

ANNE SOFIE VON OTTER, mezzo-soprano WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PALS CHILDREN’S CHORUS, ANDY ICOCHEA ICOCHEA, conductor

Text and translation are on page 27.

Please note that there is no intermission in this concert.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOODWEEK 1 SATURDAYPROGRAM 19 20 NOTES ON THE PROGRAM

Gustav Mahler (1860-1911) Symphony No. 3 First complete performance (some movements having already been introduced piecemeal): June 9, 1902, Allgemeiner Deutscher Musikverein, Krefeld, Mahler cond. First BSO performances: (first movement only) March 1943, Richard Burgin cond.; (complete score) January 1962, Richard Burgin cond., Florence Kopleff, soloist, with the Chorus Pro Musica, Alfred Nash Patterson, cond. First Tanglewood performance: August 28, 1977, Seiji Ozawa cond., Birgit Finnilä, soloist, with the Tanglewood Festival Chorus, John Oliver, cond., and Boston Boy Choir, Theodore Marier, cond. Most recent Tanglewood performance by the Boston Symphony Orchestra: July 14, 2007, Boston Symphony Orches- tra, James Levine cond., Stephanie Blythe, mezzo-soprano, with the Tanglewood Festival Chorus, John Oliver, cond., and the American Boychoir, Fernando Malvar- Ruiz, cond. Most recent Tanglewood performance: July 17, 2010, Tanglewood Music Center Orchestra, Michael Tilson Thomas cond., Karen Cargill, mezzo-soprano, again with the Tanglewood Festival Chorus and the American Boychoir. When Mahler visited Sibelius in 1907—Mahler was then near to completing his Eighth Symphony—the two composers argued about “the essence of symphony,” Mahler rejecting his colleague’s creed of severity, style, and logic by counter- ing with “No, a symphony must be like the world. It must embrace everything.” Twelve years earlier, while actually at work on the Third, he had remarked that to “call it a symphony is really incorrect, as it does not follow the usual form. The term ‘symphony’—to me this means creating a world with all the technical means available.” The completion of the Second Symphony the previous summer had given him confidence: he was sure of being “in perfect control” of his technique. Now, in the summer of 1895, escaped for some months from his duties as principal conductor at the Hamburg Opera, installed in his new one-room cabin in Steinbach on the Attersee some twenty miles east of Salzburg, with his sister Justine and his friend Natalie Bauer-Lechner to look after him (this most crucially meant silencing crows, water birds, children, and whistling farmhands), Mahler set out to make a pantheistic world to which he gave the overall title The Happy Life— A Midsummer Night’s Dream (adding “not after Shakespeare, critics and Shakespeare mavens please note”). Before he wrote any music, he worked out a scenario in five sections, entitled What the forest tells me, What the trees tell me, What twilight tells me (“strings only” he noted), What the cuckoo tells me (scherzo), and What the child tells me. He changed all that five times during the summer as the music began to take shape in his mind and, with a rapidity that astonished him, on paper as well. The Happy Life disappeared, to be replaced for a while by the Nietzschean Gay Science (first My Gay Science). The trees, the twilight, and the cuckoo were all taken out, their places taken

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 21 by flowers, animals, and morning bells. He added What the night tells me and saw that he wanted to begin with the triumphal entry of summer, which would include an element of something Dionysiac and even frightening. In less than three weeks he composed what are now the second, third, fourth, and fifth movements. He went on to the Adagio and, by the time his composing vacation came to an end on August 20, he had made an outline of the first movement and composed two independent songs, Lied des Verfolgten in Turm (Song of the Prisoner in the Tower) and Wo die schönen Trompeten blasen (Where the beautiful trumpets sound). It was the richest summer of his life. In June 1896 he was back at Steinbach. He had made some progress scoring the new symphony and he had complicated his life by an intense and stormy affair with a young, superlatively gifted dramatic soprano newly come to the Hamburg Opera, Anna von Mildenburg. He also discovered when he got to Steinbach that he had for- gotten to bring the sketches of the first movement, and it was while waiting for them that he composed his little bouquet for critics, Lob des hohen Verstandes. In due course the sketches arrived, and Mahler, as he worked on them, gradually realized that the Awakening of Pan and the Triumphal March of Summer wanted to be one movement instead of two. He also saw, rather to his alarm, that the first movement was growing

22 hugely, that it would be more than half an hour long, and that it was also getting louder and louder. He deleted his finale, What the child tells me, which was the Life in Heaven song of 1892, putting it to work a few years later to serve as finale to the Fourth Symphony. That necessitated rewriting the last pages of the Adagio, which was now the last movement, but essentially the work was under control by the beginning of August. The Gay Science was still part of the title at the beginning of the summer, coupled with what had become A Midsummer Noon’s Dream, but in the eighth and last of Mahler’s scenarios, dated August 6, 1896, the superscription is simply A Midsummer Noon’s Dream with the following titles given to the individual movements: First Part: Pan awakes. Summer comes marching in (Bacchic procession). Second Part: What the flowers in the meadow tell me What the animals in the forest tell me What humanity tells me What the angels tell me What love tells me At the premiere, the program page showed no titles at all, only tempo and generic indications. “Beginning with Beethoven,” wrote Mahler to the critic Max Kalbeck that year, “there is no modern music without its underlying program.—But no music is worth anything if you first have to tell the listener what experience lies behind it, respectively what he is supposed to experience in it.—And so yet again: pereat every program!—You just have to bring along ears and a heart and—not least—willingly surrender to the rhapsodist. Some residue of mystery always remains, even for the creator.” When, however, we look at the titles in the Third Symphony, we are, even though they were finally rejected, looking at an attempt, or a series of attempts, to put into a few words the material, the world of ideas, emotions, and associations that lay behind the choices Mahler made as he composed. We, too, can draw intimations from them, and then remove them as scaffolding we no longer need. And with that, let us turn to a brief look at the musical object Mahler left us. The first movement accounts for roughly one third of the symphony’s length. Start- ing with magnificent gaiety, it falls at once into a mood of tragedy—seesawing chords of low horns and bassoons, the drumbeats of a funeral procession, cries and out- rage. Mysterious twitterings follow, the suggestion of a distant quick march, and a grandly rhetorical recitative for the trombone. Against all that, Mahler poses a series

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 23

of quick marches (the realizations of what he had adumbrated earlier for just a few seconds), the sorts of tunes you can’t believe you haven’t known all your life and the sort that used to cause critics to complain of Mahler’s “banality,” elaborated and scored with an astounding combination of delicacy and exuberance. Their swagger is rewarded by a collision with catastrophe, and the whole movement—for all its out- size dimensions as classical a sonata form as Mahler ever made—is the conflict of the dark and the bright elements, culminating in the victory of the latter. Two other points might be made. One concerns Mahler’s fascination, not ignored in our century, with things happening “out of time.” The piccolo rushing the imita- tions of the violins’ little fanfares is not berserk: she is merely following Mahler’s direction to play “without regard for the beat.” That is playful, but the same device is turned to dramatic effect when, at the end of a steadily accelerating development, the snare drums cut across the oom-pah of the cellos and basses with a slower march tempo of their own, thus preparing the way for the eight horns in unison to blast the recapitulation into being. The other thing is to point out that several of the themes heard near the beginning will be transformed into the materials of the last three movements—fascinating especially when you recall that the first movement was written after the others. In the division of the work Mahler finally adopted, the first movement is the entire first section. What follows is, except for the finale, a series of shorter character pieces, beginning with the Blumenstück, the first music he composed for this symphony. It is a delicately sentimental minuet with access, in its contrasting section, to slightly sinister sources of energy. Curiously, it anticipates music not heard in the symphony at all, that is to say, the scurrying runs from the Life in Heaven song that was dropped from this design and finally made its way into the Fourth Symphony. In the third movement, Mahler draws on his song Ablösung im Sommer (Relief in Summer), whose text tells of waiting for Lady Nightingale to start singing as soon as the cuckoo is through. The marvel here is the landscape with posthorn, not only the lovely melody itself, but the way it is introduced: the magic transformation of the very “present” trumpet into distant posthorn, the gradual change of the posthorn’s melody from fanfare to song, the interlude for flutes, and, as Arnold Schoen- berg points out, the accompaniment “at first with the divided high violins, then, even more beautiful if possible, with the horns.” After the brief return of this idyll and before the snappy coda, Mahler makes spine-chilling reference to the “Great Summons” music in the Second Symphony’s finale. Low strings rock to and fro, the harps accenting a few of their notes, the seesawing horn chords from the first pages return, and a human voice intones the Midnight Song from Friedrich Nietzsche’s Thus spoke Zarathustra (see page 27). Each of its eleven lines is to be imagined as coming between the strokes of midnight. Pianississimo throughout, warns Mahler. From here, the music moves forward without a break, and as abruptly and drastically as it changed from the scherzo to Nietzsche’s midnight, so does it change from that darkness to the bells and angels of the fifth movement. The text comes from Des Knaben Wunderhorn (The Boy’s Magic Horn), though the interjections of “Du sollst ja nicht weinen” (“But you mustn’t weep”) are Mahler’s own. A three-part chorus of women’s voices carries most of the text, though the contralto returns to take the part of the sinner. The boys’ chorus, confined at first to bell noises, joins later in the exhortation “Liebe nur Gott” (“Only love God”) and for the final stanza. This movement, too, foreshadows the Life in Heaven that will not, in fact, occur until the Fourth Symphony: the solemnly archaic chords first heard at “Ich hab übertreten die Zehen

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 25 Gebot” (“I have trespassed against the Ten Commandments”) will be associated in the later work with details of the domestic arrangement in that mystical, sweetly scurrile picture of heaven. Violins drop out of the orchestra for this softly sonorous movement. The delicate balance between the regions of F (the quick marches of the first movement, and the third and fifth movements) and D (the dirges in the first movement, the Nietzsche song, and, by extension, the minuet, which is in A major) is now and finally resolved in favor of D. Mahler perceived that the decision to end the symphony with an Adagio was one of the most special he made. “In Adagio movements,” he explained to Natalie Bauer-Lechner, “everything is resolved in quiet. The Ixion wheel of outward appearances is at last brought to a standstill. In fast movements—minuets, Allegros, even Andantes nowadays—everything is motion, change, flux. Therefore I have ended my Second and Third symphonies, contrary to custom... with Adagios— the higher form as distinguished from the lower.” A noble thought, but, not uniquely in Mahler, there is some gap between theory and reality. The Adagio makes its way at the last to a sure and grand conquest, but during its course—and this is a movement, like the first, on a very large scale—Ixion’s flaming wheel can hardly be conceived of as standing still. In his opening melody, Mahler invites association with the slow movement of Beethoven’s last quartet, Opus 135. Soon, though, the music is caught in “motion, change, flux,” and before the final triumph, it encounters again the catastrophe that interrupted the first movement. The Adagio’s original title, What love tells me, refers to Christian love—“agape”— and Mahler’s drafts carry the superscription: “Behold my wounds! Let not one soul be lost.” The performance directions, too, seem to speak to the issue of spirituality, for Mahler enjoins that the immense final bars with their thundering kettledrums be played “not with brute strength, [but] with rich, noble tone,” and that the last measure “not be cut off sharply,” so that there is some softness to the edge between sound and silence at the end of this most riskily and gloriously comprehensive of Mahler’s “worlds.”

26 O Mensch! Gib Acht! Oh man, give heed! Was spricht die tiefe Mitternacht? What does deep midnight say? Ich schlief! I slept! Aus tiefem Traum bin ich erwacht! From a deep dream have I waked! Die Welt ist tief! The world is deep, Und tiefer als der Tag gedacht! And deeper than the day had thought! Tief ist ihr Weh! Deep in its pain! Lust tiefer noch als Herzeleid! Joy deeper still than heartbreak! Weh spricht: Vergeh! Pain speaks: Vanish! Doch alle Lust will Ewigkeit! But all joy seeks eternity, Will tief, tiefe Ewigkeit! Seeks deep, deep eternity. —Friedrich Nietzsche

Es sungen drei Engel einen süssen Three angels were singing a sweet song: Gesang, Mit Freuden es selig im Himmel klang, With joy it resounded blissfully in heaven. Sie jauchzten fröhlich auch dabei, At the same time they happily shouted with joy Dass Petrus sei von Sünden frei. That Peter was absolved from sin. Denn als der Heer Jesus zu Tische sass, For as Lord Jesus sat at table, Mit seinen zwölf Jüngern das Eating supper with his twelve apostles, Abendmal ass, So sprach der Herr Jesus: “Was stehst So spoke Lord Jesus: “Why are you du denn hier? standing here? Wenn ich dich anseh’, so weinest du When I look at you, you weep.” mir.” “Und sollt ich nicht weinen, du gütiger “And should I now weep, you kind Gott! God! Du sollst ja nicht weinen! No, you mustn’t weep. Ich hab übertreten die Zehen Gebot; I have trespassed against the Ten Commandments. Ich gehe und weine ja bitterlich, I go and weep, and bitterly. Du sollst ja nicht weinen! No, you mustn’t weep. Ach komm und erbarme dich über Ah, come and have mercy on me!” mich!” “Hast du denn übertreten die Zehen “If you have trespassed against the Ten Gebot, Commandments, So fall auf die Knie und bete zu Gott, Then fall on your knees and pray to God, Liebe nur Gott in alle Zeit Love only God for ever, So wirst du erlangen die himmlische And you will attain heavenly joy.” Freud.” Die himmlische Freud ist eine selige Heavenly joy is a blessed city, Stadt, Die himmlische Freud, die kein End Heavenly joy, that has no end. mehr hat; Die himmlische Freud, war Petro bereit Heavenly joy was prepared for Peter Durch Jesum und allen zur Seligkeit. By Jesus and for the salvation of all. —from Des Knaben Wunderhorn

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 27 Guest Artists

For a biography of Rafael Frühbeck de Burgos, see page 16. Anne Sofie von Otter Internationally acclaimed Swedish mezzo-soprano Anne Sofie von Otter has long been considered one of the finest singers of her generation. Her lengthy and exclusive relationship with Deutsche Grammophon has produced a wealth of recordings and numerous awards, including Recording Artist of the Year, International Record Critics Association; a Grammy Award for best classical vocal performance (Mahler’s Des Knaben Wunderhorn), and a Diapason d’Or for a recording of Swedish songs with her longtime accompanist, Bengt Forsberg. She collaborated with pop legend Elvis Costello on the disc “For the Stars” and in October 2010 released her first recording on the Naïve label, “Love Songs,” a collaboration with renowned jazz pianist Brad Mehldau. Her most recent recording for Naïve, “Sogno Barocco,” a collection of Italian Baroque arias, scenes, and duets with Leonardo García-Alarcón and Cappella Mediterranea, was released in September 2012. Anne Sofie von Otter is particularly renowned for her interpretation of Octavian in Der Rosenkavalier, a role she has performed at the Royal Opera House–Covent Garden, Bayerische Staatsoper, Opéra National de Paris, and the Wiener Staatsoper. She also performed the role in a series of engagements with James Levine and the Metropolitan Opera, and in Japan under the late Carlos Kleiber (available on DVD). Her other opera recordings include Le nozze di Figaro under Levine, Orfeo ed Euridice under John Eliot Gardiner, Handel’s Ariodante and Hercules under Marc Minkowski, and Ariadne auf Naxos under Giuseppe Sinopoli. Recent opera highlights have included her role debut in Charpentier’s Médeé for Oper Frankfurt, Countess Geschwitz in Lulu at the Metro-

28 politan Opera under Fabio Luisi, Clytemnestre in Iphigénie en Aulide in Pierre Audi’s production for De Nederlandse Opera under Marc Minkowski, and Geneviève in Pelléas et Mélisande under Philippe Jordan for Opéra National de Paris. She appeared in Giulio Cesare at the 2012 Salzburg Festival with a cast including Cecilia Bartoli and Andreas Scholl. A diverse repertoire has played a key role in sustaining her international reputation. Among recently added roles are Brangäne in Tristan und Isolde, Baba the Turk in The Rake’s Progress, Dido in Les Troyens, and Waltraute in Wagner’s Ring.A busy concert schedule takes her to all corners of the globe; this season’s performances included Mahler’s Symphony No. 2 with the Berlin Philharmonic under Sir Simon Rattle; orchestrated Schubert Lieder with the National Symphony Orchestra in Wash- ington, D.C., under Christoph Eschenbach; and Wagner’s Wesendonck Lieder with Susanna Mälkki and the Gothenburg Symphony Orchestra, as well as appearances with the New York Philharmonic under Alan Gilbert, the Boston Symphony under Daniele Gatti (Mahler’s Symphony No. 3 this past March in Boston, with a repeat performance at Carnegie Hall), and the Royal Stockholm Philharmonic under Sakari Oramo. She appeared with Jonas Kaufmann and the Berlin Philharmonic conducted by Claudio Abbado for a televised performance of Das Lied von der Erde on the hundredth anniversary of Mahler’s death. Anne Sofie von Otter was born in Stockholm, graduated from the Stockholm College of Music, and studied further at the Guildhall School of Music and Drama in London. She made her Boston Symphony debut in November 1994 in Mahler’s Das Lied von der Erde, BSO audiences later hearing her as Judith in Bartók’s Bluebeard’s Castle in Boston and at Carnegie Hall in November 2006, and as Dido in Berlioz’s Les Troyens in April/May 2008 at Symphony Hall and July 2008 at Tanglewood.

Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Mahler’s Symphony No. 3 on July 6 with conductor Rafael Frühbeck de Burgos, Verdi’s Requiem on July 27 with conductor Andris Nelsons (who becomes BSO Music Director Designate this fall), Poulenc’s Stabat mater on August 2 with Stéphane Denève, Ravel’s complete Daphnis et Chloé on August 3 with Charles Dutoit, and Beethoven’s Ninth Symphony on August 25 with BSO LaCroix Family Fund Conductor Emeritus Bernard Haitink, as well as a Friday Prelude concert of its own on August 23, when John Oliver conducts an all-Britten program marking the centennial of the composer’s birth. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint

TANGLEWOODWEEK 1 GUESTARTISTS 29 sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented

TANGLEWOODWEEK 1 GUESTARTISTS 31 the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of

TANGLEWOODWEEK 1 GUESTARTISTS 33 works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. The 2013 Tanglewood season marks the 50th anniversary of Mr. Oliver’s Tanglewood debut.

Women of the Tanglewood Festival Chorus John Oliver, Conductor (Mahler Symphony No. 3, July 6, 2013)

In the following list, § denotes membership of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Deborah Abel • Michele Bergonzi # • Joy Emerson Brewer • Catherine C. Cave • Stephanie Chambers • Lorenzee Cole # • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Lisa DiGiusto • Katherine Barrett Foley • Karen Ginsburg • Bonnie Gleason • Beth Grzegorzewski • Alexandra Harvey • Eileen Huang • Stephanie Janes • Polina Dimitrova Kehayova • Donna Kim • Barbara Abramoff Levy § • Sarah Mayo • Ruthie Miller • Kieran Murray • Livia M. Racz • Melanie Salisbury # • Johanna Schlegel • Pamela Schweppe # • Erin M. Smith • Judy Stafford • Stephanie Steele • Sarah Telford • Lisa Watkins

Mezzo-Sopranos

Martha A.R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Sarah Cohan • Abbe Dalton Clark • Diane Droste • Barbara Durham • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Lisa Sheppard Hadley • Rachel K. Hallenbeck • Julie Hausmann • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Louise Morrish • Tracy Elissa Nadolny • Kendra Nutting • Andrea Okerholm • Elodie Simonis • Lelia Tenreyro-Viana • Cindy M. Vredeveld • Marguerite Weidknecht

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

34 PALS Children’s Chorus Andy Icochea Icochea, Artistic Director With singing at its core and training in dance and drama, PALS Children’s Chorus changes the lives of children, building confidence, discipline, leadership and a love of music that will last a lifetime. Throughout its history, PALS has collaborated with internationally known ensembles including the Boston Symphony Orchestra, Boston Lyric Opera, Boston Pops, and Boston Early Music Festival. PALS choristers perform a wide range of repertoire, from classical, to world music, to gospel and new music, and present an opera every year. In addition to performances at Symphony Hall with the Boston Symphony Orches- tra, this season’s highlights included the American premiere of Raoul Gehringer’s opera The Tale of Moby Dick. Founded twenty-four years ago, PALS serves 185 children ages 6-15, from the greater Boston area, regardless of their financial circumstance. For more information, please visit www.palschildrenschorus.org.

Andy Icochea Icochea PALS conductor Andy Icochea Icochea is a multi-faceted musician who regularly appears as an orchestral and opera conductor, choral conductor, and accompanist, and whose compositions and arrangements are performed internationally. He has appeared in over 500 concerts in twenty-seven countries and four continents, in such venues as Carnegie Hall, Suntory Hall, the Wiener Musikverein and the Berliner Konzerthaus. He also serves as choral clinician and conductor for the World Peace Choir (Vienna and Beijing) and as a guest clinician for Boston Symphony Orchestra education programs. He has collaborated as choral conductor and rehearsal accompanist under Riccardo Muti, Georges Prêtre, Adám Fischer, Franz Welser-Möst, Bertrand de Billy, Bernard Haitink, and Charles Dutoit. His choruses have performed with the Vienna Philharmonic, the Vienna Symphony, the Royal Stockholm Symphony Orchestra, and the Boston Symphony Orchestra. He has conducted world premieres of operas in Austria and Italy. His own compositions and arrangements have been performed internationally. Born and raised in Peru, Andy Icochea Icochea began studying piano and music theory at age seven, held his first post as an accompanist at fourteen, and began conducting children’s choirs the following year. He trained at Peru’s National Conservatory of Music, at Westminster Choir College in Princeton, NJ, and at the Vienna Conservatory. Before joining PALS, he was Kapellmeister of the Vienna Boys Choir for six years.

PALS Children’s Chorus Andy Icochea Icochea, Artistic Director

Tim Beinborn • Dessie Bell-Kamen • Nathaniel Bohrs • Carolin Brigl • Thomas Cheng • Maximilian Deisboeck • Skye Dlugy-Hegwer • Sheli Dubovsky • Emily Gerson • Ben Gordon • Samuel Greene • Richard Halloran • Sarah Hough • Evan Hsu • Wilson Hsu • Lyra Johnson • Masha Kazantsev • Isabel Keller • Cora Lauffer • Kevin Liao • Andrea Lirio • Friedrich Liu • Ailish Maheras • Adam Marcelo • Sophie Morganstern • Margaret Pirozzolo • Maya Prabhakar • Maya Radonjic Sabbagh • Ana Radonjic Sabbagh • Eleanor Raine • Jacobo Regojo • Denise Rogozin • Noah Sesling • Francisco Viana • Cecilia Viana • Julianna Watson • Javier Werner • Yasmin Yacoby

TANGLEWOODWEEK 1 GUESTARTISTS 35 2013 Tanglewood

THE BOSTON POPS ORCHESTRA KEITH LOCKHART, Conductor JOHN WILLIAMS, Laureate Conductor

Sunday, July 7, 2:30pm For the benefit of the Boston Symphony Orchestra Pension Fund

OPENING WEEKEND AT TANGLEWOOD SPONSORED BY CLEAN SLATE

KEITH LOCKHART CONDUCTING with special guest VINCE GILL

WILLIAMS “Cowboys” Overture

COPLAND Two Pieces from “Rodeo” Corral Prelude—Hoedown

Arr. HAYMAN “Carmen Goes Country”

Music from Westerns

NEWMAN Theme from “How the West Was Won”

TIOMKIN/arr. REISMAN The Green Leaves of Summer, from “The Alamo”

E. BERNSTEIN Suite from “The Magnificent Seven”

{Intermission}

Presenting VINCE GILL John Hobbs, keyboards | David Hungate, bass | Jeff White, guitar Billy Thomas, drums | Dawn Sears, vocals

Selections to be announced from the stage

36 Artists

Keith Lockhart Keith Lockhart became the twentieth conductor of the Boston Pops in 1995, adding his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. He holds the Julian and Eunice Cohen Boston Pops Conductor chair. Mr. Lockhart has promoted programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his eighteen-year tenure, he has conducted more than 1,500 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. He has also introduced concert performances of full-length Broadway shows, including Rodgers and Hammerstein’s Carousel and Stephen Sondheim’s A Little Night Music, and the PopSearch and High School Sing-Off competitions. Under his leadership, the Boston Pops has commissioned several new works— including The Dream Lives On, a tribute to the Kennedy brothers, which was premiered in May 2010 during the 125th anniversary season—and dozens of new arrangements. Keith Lockhart and the Boston Pops have released four self-produced recordings— Sleigh Ride, America, Oscar & Tony, and The Red Sox Album—and also recorded eight albums with RCA Victor—Runnin’ Wild: The Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. He has made seventy-three television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler; many Holiday Pops telecasts, and thirty-eight new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on thirty- seven national tours, as well as performances at Carnegie Hall and Radio City Music Hall, and brought the music of “America’s Orchestra” overseas in four tours of Japan and Korea. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for

Established in 1903, the Boston Symphony Pension Institution is the oldest among the American symphony orchestras. In recent years the Pension Institution has paid $4.2 million annually to more than ninety pensioners or their surviving spouses. Pension Institution income is derived from Pension Fund concerts and from Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and the Corporation are members of the Pension Institution’s Board of Directors.

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

TANGLEWOODWEEK 1 ARTISTS 37 Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. Music director of the Utah Symphony from 1998 to 2009, he led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Born in Poughkeepsie, New York, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman Uni- versity and Carnegie Mellon University, and honorary doctorates from several American universities.

Vince Gill Born in Norman, Oklahoma, Vincent Grant Gill was encouraged by his father to learn to play guitar and banjo, which he did—along with bass, mandolin, dobro, and fiddle. In 1979 he joined Pure Prairie League as lead singer and recorded three albums with the band, the first of which yielded the pop hit “Let Me Love You Tonight.” Departing the group in 1981, Gill joined Rodney Crowell’s backing band the Cherry Bombs. Having signed with RCA Records in 1983, he moved to Nashville and released his debut mini-album, Turn Me Loose, which featured his first chart- ing solo single, “Victim of Life’s Circumstance.” The Things That Matter, his first full album, was released later that year, yielding two Top 10 hits: a duet with Rosanne Cash on “If It Weren’t For Him” and a solo hit with “Oklahoma Border- line.” In 1987 he achieved his first Top 5 single, “Cinderella,” from his album The Way Back Home. He signed with MCA Records in 1989 and released the album When I Call Your Name. The title cut earned Gill his first CMA and Grammy awards in 1990, and the album sold more than a million copies. Declining an offer from Mark Knopfler to join Dire Straits as a full-time member, he went on to record Pocket Full of Gold and I Still Believe In You. Vince Gill co-hosted the CMA Awards from 1992 to 2003, setting a record for the most times anyone has consecutively hosted a televised award show. Other albums include Let There Be Peace on Earth (1993), When Love Finds You (1994), High Lonesome Sound (1996), The Key (his first to top the Billboard Country Albums chart), Let’s Make Sure We Kiss Goodbye (2000), Next Big Thing (2004, his first solo-produced album), and, most recently, Guitar Slinger (2011). He also reunited with Rodney Crowell, Tony Brown, Richard Bennett, and Hank Devito (along with new additions Eddie Bayers, John Hobbs, and Michael Rhodes) as the Notorious Cherry Bombs. In 2006 Gill released the four-CD set These Days, each disc of which explores a different musical mood: traditional country; ballads; contemporary/up-tempo; and acoustic/bluegrass music. In his career, Vince Gill has sung duets with Amy Grant, Reba McIntire, Dolly Parton, and Barbra Streisand, sold more than 26 million albums, and earned eighteen CMA Awards, including Entertainer of the Year in 1993 and 1994. A member of the Grand Ole Opry, he has received twenty Grammy Awards to date, the most of any male country artist. He helped create the annual Vince Gill Pro-Celebrity Invitational Golf Tournament (“The Vinny”) in 1993, and has participated in hundreds of charitable events. In August 2007, the Country Music Association inducted Vince Gill into the Country Music Hall of Fame.

38 The Boston Pops Orchestra KEITH LOCKHART Julian and Eunice Cohen Boston Pops Conductor Mark Ludwig* Contrabassoon endowed in perpetuity Rachel Fagerburg* Gregg Henegar Kazuko Matsusaka* Horns JOHN WILLIAMS Rebecca Gitter* Laureate Conductor Wesley Collins* Richard Sebring Principal First Violins Cellos Rachel Childers Tamara Smirnova• Martha Babcock Michael Winter Concertmaster Principal Jason Snider Beranek chair, Helene and Norman L. Jonathan Menkis Cahners chair, endowed endowed in perpetuity Trumpets Alexander Velinzon• in perpetuity Assistant Concertmaster Sato Knudsen Thomas Rolfs Edward and Bertha C. Mihail Jojatu Principal Rose chair, endowed Jonathan Miller* Roberta and Stephen R. in perpetuity Owen Young* Weiner chair, endowed Elita Kang Mickey Katz* in perpetuity Assistant Concertmaster Alexandre Lecarme* Benjamin Wright Julianne Lee Adam Esbensen* Thomas Siders Acting Assistant Blaise Déjardin* Michael Martin Concertmaster Basses Trombones Bo Youp Hwang Lawrence Wolfe Toby Oft Eunice and Julian Cohen Principal Principal chair, endowed in perpetuity Benjamin Levy Stephen Lange Ikuko Mizuno Dennis Roy Nancy Bracken* Bass Trombone James Orleans* Aza Raykhtsaum* James Markey Todd Seeber* Bonnie Bewick* John Stovall* Tuba James Cooke* Thomas Van Dyck* Catherine French* Mike Roylance Principal Jason Horowitz* Flutes Ala Jojatu* Elizabeth Ostling Timpani Second Violins Principal Timothy Genis Mr. and Mrs. William F. Sheila Fiekowsky Percussion Connell chair, endowed Nicole Monahan in perpetuity J. William Hudgins Ronan Lefkowitz Clint Foreman Daniel Bauch Ronald Knudsen• Kyle Brightwell Vyacheslav Uritsky Piccolo Matthew McKay Jennie Shames* Cynthia Meyers Valeria Vilker Kuchment* Harp Tatiana Dimitriades* Oboes Jessica Zhou• Si-Jing Huang* Keisuke Wakao+ Allegra Lilly§ Principal Victor Romanul Piano Wendy Putnam* Mark McEwen Vytas Baksys§ Xin Ding* Amanda Hardy§ Glen Cherry* English Horn Yuncong Zhang* Librarians Robert Sheena Violas Marshall Burlingame Clarinets Principal Cathy Basrak Thomas Martin William Shisler Principal Principal John Perkel Edward Gazouleas Michael Wayne Robert Barnes Personnel Managers Michael Zaretsky Bass Clarinet Lynn G. Larsen Craig Nordstrom Bruce M. Creditor Bassoons Assistant Personnel Manager * Participating in a system of rotated seating Richard Ranti Stage Manager § Substituting Principal John Demick + On sabbatical leave Suzanne Nelsen • On leave TANGLEWOODWEEK 1 ARTISTS 39

Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members' Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • James and Tina Collias • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter •

TANGLEWOODWEEK 1 SOCIETYGIVINGATTANGLEWOOD 41 Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O'Connor • Mr. and Mrs. Gerard O'Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

42 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Myra and Raymond Friedman • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Richard Holland • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased Stu Rosner

TANGLEWOODWEEK 1 SOCIETYGIVINGATTANGLEWOOD 43 2013 Tanglewood Named Concerts and Guest Artists

The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2013 Tanglewood season. Concerts and guest artists are available for naming to Boston Symphony, Boston Pops, and Tanglewood Annual Fund supporters of $25,000 or more and may also be endowed for a minimum of ten years. Prelude concerts are available for naming in recognition of annual fund donors of $7,500 or more.

2013 Tanglewood Named Concerts

Friday, July 5, 2013 (Prelude) Sponsored by Berkshire Money Management Monday, July 8, 2013 The Phyllis and Lee Coffey Memorial Concert Thursday, July 11, 2013 The Joseph C. McNay/New England Foundation Concert Friday, July 12, 2013 (Prelude) The Mae and Gabriel Shapiro Memorial Concert Friday, July 12, 2013 Sponsored by Country Curtains, the Red Lion Inn, and Blantyre Saturday, July 13, 2013 Sponsored by Canyon Ranch Sunday, July 14, 2013 The Caroline and James Taylor Concert Monday, July 15, 2013 The Daniel Freed and Shirlee Cohen Freed Memorial Concert Thursday, July 18, 2013 The Henry and Louise Leander Concert Friday, July 19, 2013 (Prelude) Supported by a generous gift from The Walter and Alice Gorham Foundation, Inc. Saturday, July 20, 2013 The Jenkins Family Concert Monday, July 22, 2013 The Margaret Lee Crofts Concert Thursday, July 25, 2013 The Cynthia and Oliver Curme Concert Friday, July 26, 2013 (Prelude) The Jerry and Norma Strassler Concert Friday, July 26, 2013 The Evelyn and Samuel Lourie Memorial Concert Saturday, July 27, 2013 The Stephen and Dorothy Weber Concert Sunday, July 28, 2013 The Cynthia and Oliver Curme Concert Friday, August 2, 2013 (Prelude) In memory of Erling W. Nelson

44 Friday, August 2, 2013 The Serge and Olga Koussevitzky Memorial Concert Saturday, August 3, 2013 The George W. and Florence N. Adams Concert Sunday, August 4, 2013 Sponsored by EMC Tuesday, August 6, 2013 (Tanglewood On Parade) The Gregory E. Bulger Foundation Concert August 8, 2013 – August 12, 2013 (Festival of Contemporary Music) The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond and Mrs. Hannah H. Schneider, with additional support in 2013 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund Thursday, August 8, 2013 The Fromm Concert at Tanglewood Friday, August 9, 2013 (Prelude) The Arlene and Jerome Levine Concert Saturday, August 10, 2013 The Linde Family Concert Sunday, August 11, 2013 The Boston Symphony Association of Volunteers Concert Thursday, August 15, 2013 The Carol and Joe Reich Concert Friday, August 16, 2013 Sponsored by Cranwell Resort, Spa and Golf Club Saturday, August 17, 2013 The Jean Thaxter Brett Memorial Concert Sunday, August 18, 2013 The Leonard Bernstein Memorial Concert The 2013 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Mrs. Hannah H. Schneider, and Diane H. Lupean. Friday, August 23, 2013 (Prelude) The Elaine and Bernard Roberts Concert Saturday, August 24, 2013 (Family Concert) Supported by a gift from the James A. Macdonald Foundation Saturday, August 24, 2013 The George and Roberta Berry Supporting Organization Concert

2013 Named Support of Tanglewood Guest Artists All appearances of the Tanglewood Festival Chorus Supported by the Alan J. and Suzanne W. Dworsky Fund for Voice & Chorus Kristīne Opolais (July 27) Supported by a generous gift from Catherine and Paul Buttenwieser Yo-Yo Ma (August 4) Supported by a generous gift from Catherine and Paul Buttenwieser

TANGLEWOODWEEK 1 NAMEDCONCERTSANDGUESTARTISTS 45 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

46 Tanglewood Major Corporate Sponsors 2013 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following companies and gratefully acknowledge their partnerships. 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].

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

Clean Slate German Riesling is the proud sponsor of Opening Weekend at Tanglewood. On the steep slate hills above the winding Mosel River grow the world’s most celebrated Riesling vines. From these noble grapes comes Clean Slate, a crisp and balanced wine with ripe peach flavors and crisp notes of mineral imparted from the slate soil. Imported by Winebow, Inc. New York, NY and distributed in Massachusetts by United Liquors, a division of the Martignetti Companies. For more information, visit www.cleanslatewine.com

TANGLEWOODWEEK 1 MAJORCORPORATESPONSORS 47 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

July at Tanglewood

Friday, July 5, 6pm (Prelude Concert) Friday, July 12, 8:30pm MEMBERS OF THE BSO BSO—KAZUSHI ONO, conductor Music of Wolf and Tchaikovsky LEON FLEISHER, piano

Friday, July 5, 8:30pm WAGNER Siegfried Idyll Opening Night at Tanglewood RAVEL Piano Concerto for the left hand RIMSKY-KORSAKOV Scheherazade BSO—RAFAEL FRÜHBECK DE BURGOS, conductor Saturday, July 13, 10:30am JOSHUA BELL, violin Open Rehearsal (Pre-Rehearsal Talk, 9:30am) ALL-TCHAIKOVSKY PROGRAM BSO program of Saturday, July 13 Violin Concerto; Symphony No. 5 Please note that the complete film will not be shown, and that the music may not be performed in its entirety. Saturday, July 6, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, July 13, 8:30pm BSO program of Saturday, July 6 BSO—DAVID NEWMAN, conductor BERNSTEIN West Side Story Saturday, July 6, 8:30pm Bernstein’s score played live by the BSO, as a BSO—RAFAEL FRÜHBECK DE BURGOS, newly re-mastered HD print is shown with the conductor original vocals and dialogue intact ANNE SOFIE VON OTTER, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS Sunday, July 14, 2:30pm PALS CHILDREN’S CHORUS BSO—RAFAEL FRÜHBECK DE BURGOS, MAHLER Symphony No. 3 conductor LYNN HARRELL, cello Sunday, July 7, 2:30pm STRAVINSKY Suite from Pulcinella BOSTON POPS ORCHESTRA HAYDN Cello Concerto No. 1 KEITH LOCKHART, conductor BEETHOVEN Symphony No. 8 VINCE GILL, special guest Monday, July 15, 8pm Monday, July 8, 8pm TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—RAFAEL FRÜHBECK TMC CONDUCTING FELLOWS, conductors DE BURGOS and TMC CONDUCTING LAURA STRICKLING, soprano FELLOWS, conductors BRITTEN Prince of the Pagodas—Pas de six REILLY NELSON, mezzo-soprano BRITTEN Les Illuminations KODÁLY Dances of Galánta SHOSTAKOVICH Symphony No. 11, HARBISON Closer to My Own Life The Year 1905 BEETHOVEN Symphony No. 5 Wednesday, July 17, 8pm Thursday, July 11, 7:30pm BORODIN STRING QUARTET ORCHESTRA AND CHORUS OF Music of Brahms and Tchaikovsky EMMANUEL MUSIC RYAN TURNER, artistic director and Thursday, July 18, 8pm conductor BRYN TERFEL, baritone GORDON GIETZ, DEVON GUTHRIE, NATALIA KATYUKOVA, piano KATHERINE GROWDON, KRISTA RIVER, Program of German and English art songs LYNN TORGOVE, CHARLES BLANDY, ALEX RICHARDSON, DAVID KRAVITZ, Friday, July 19, 6pm (Prelude Concert) JAMES MADDALENA, DANA WHITESIDE, BOSTON CELLO QUARTET and FRIENDS DAVID CUSHING, and DONALD WILKIN- Music of Debussy, Falla, Fauré, Tchakovsky, SON, vocal soloists D’Rivera, and Déjardin, plus world premieres HARBISON The Great Gatsby, Opera in two acts by Hoshii and Hudgins Concert performance, sung in English with Friday, July 19, 8:30pm supertitles BSO—VLADIMIR JUROWSKI, conductor Friday, July 12, 6pm (Prelude Concert) JEAN-YVES THIBAUDET, piano MEMBERS OF THE BSO WAGNER Prelude to Die Meistersinger KATHERINE DOWLING and NICOLAS LISZT Totentanz, for piano and orchestra NAMORADZE, pianists BRAHMS Symphony No. 1 Music of Britten and Stravinsky

Saturday, July 20, 10:30am Friday, July 26, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—CHRISTOPH ESCHENBACH, BSO program of Sunday, July 21 conductor and piano CHRISTINE SCHÄFER, soprano Saturday, July 20, 8:30pm ALL-MOZART PROGRAM BSO—LOTHAR KOENIGS, conductor “Ch’io mi scordi di te…Non temer, amato Cast to include bene,” Concert aria for soprano and orchestra KATARINA DALAYMAN, soprano with piano obbligato, K.505; Piano Concerto (Brünnhilde) No. 12 in A, K.414; Symphony No. 41, Jupiter AMBER WAGNER, soprano (Sieglinde) BRYN TERFEL, bass-baritone (Wotan) Saturday, July 27, 10:30am WAGNER Die Walküre, Act III Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Sung in German with English supertitles BSO program of Sunday, July 28

Sunday, July 21, 2:30pm, Shed Saturday, July 27, 8:30pm MEMBERS OF THE BSO BSO—ANDRIS NELSONS, conductor PINCHAS ZUKERMAN, conductor, violin, KRIST¯INE OPOLAIS, LIOBA BRAUN, and viola DMYTRO POPOV, and FERRUCCIO ELIZABETH ROWE, flute FURLANETTO, vocal soloists JOHN FERRILLO, oboe TANGLEWOOD FESTIVAL CHORUS THOMAS ROLFS, trumpet VERDI Requiem AMANDA FORSYTH, cello Sunday, July 28, 2:30pm Concertos of VIVALDI and TELEMANN BSO—CHRISTOPH ESCHENBACH, J.S. BACH Concerto No. 2 in E for violin conductor and strings; Brandenburg Concerto No. 2 GARRICK OHLSSON, piano Monday, July 22, 8pm, Ozawa Hall DVORÁKˇ Carnival Overture TMC ORCHESTRA—STÉPHANE DENÈVE PROKOFIEV Piano Concerto No. 3 and TMC CONDUCTING FELLOWS, DVORÁKˇ Symphony No. 9, From the New World conductors JESSICA ZHOU, harp Monday, July 29, 7pm ALL-DEBUSSY PROGRAM STEVE MILLER BAND Prélude à l’Après-midi d’un faune; Jeux; Danses Tuesday, July 30, 8pm, Theatre sacrée et profane, for harp and orchestra; La Mer Film Screening Tuesday, July 23, 7pm JURO MOTOMASA Sumidagawa BARENAKED LADIES, BEN FOLDS FIVE, Free event; in Japanese with English subtitles and GUSTER A filmed performance of the 15th-century “Last Summer on Earth Tour 2013” Noh play that inspired Benjamin Britten’s Curlew River, an English-language setting for Wednesday, July 24, 8pm voices and instruments of the same story, to be performed July 31 and August 1 PAUL LEWIS, piano All-Schubert program Wednesday, July 31, 7:30pm (Sonatas in C minor, D.958; A, D.959; Thursday, August 1, 7:30pm and B-flat, D.960) MARK MORRIS DANCE GROUP Thursday, July 25, 8pm TMC FELLOWS GARRICK OHLSSON, piano MARK MORRIS, choreographer and director Music of Beethoven, Schubert, Griffes, and STEFAN ASBURY, conductor (Purcell) Chopin CHRISTINE VAN LOON and ALLEN MOYER, costume designers Friday, July 26, 6pm (Prelude Concert) JAMES F. INGALLS, lighting designer MEMBERS OF THE BSO ROBERT BORDO and ALLEN MOYER, Music of Stravinsky, Britten, and Mozart scenic designers BRITTEN Curlew River PURCELL Dido and Aeneas Fully-staged productions, sung in English

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, edu- cators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported, by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

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 • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • 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 • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Jason Lyon, Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • Savory Harvest Catering Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Institute for Economic Research • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • 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 • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall