2011-2012 season Week 26
Season Sponsor: Bernard Haitink Conductor Emeritus. ; p Seiji Ozawa Music Director Laureate lloMon Bnvlston Slrcrl ((>17) '182-8707
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THE GIFT OF TIME Table of Contents I Week 26
9 BSO NEWS
17 ON DISPLAY IN SYMPHONY HALL
18 THE BOSTON SYMPHONY ORCHESTRA
21 A BSO PLAYER'S PERSPECTIVE
26 FAREWELL, THANKS, AND ALL BEST! THIS YEAR'S BSO RETIREE
30 THIS WEEK'S PROGRAM
Notes on the Program
32 The Program in Brief
33 Igor Stravinsky
43 Ludwig van Beethoven
57 To Read and Hear More...
Guest Artists
61 Bernard Haitink
63 Jessica Rivera
65 Meredith Arwady
67 Roberto Sacca
69 Gunther Groissbock
71 Tanglewood Festival Chorus
73 John Oliver
76 2011-2012 SEASON SUMMARY
90 SPONSORS AND DONORS
106 SYMPHONY HALL EXIT PLAN
107 SYMPHONY HALL INFORMATION
program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo by Stu Rosner
BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org EVERY CLOUD HASASILVER LINING At EMC, success comes from creating technology which will transform the world’s largest IT departments into private clouds—and from sharing that success by supporting a range of educational, cultural, and social programs in our community.
Learn more at www.EMC.com.
EMC IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA EMC where information lives
EMCJ, EMC, the EMC logo, and where information lives are registered trademarks or trademarks of EMC Corporation in the United States and other countries. © Copyright 2010 EMC Corporation. All rights reserved. 2187 BERNARD HAITINK, LACROIX FAMILY FUND CONDUCTOR EMERITUS, ENDOWED IN PERPETUITY
SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
131st season, 2011-2012
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 ■ Vincent M. O'Reilly, Treasurer
William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick ■ Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters
LIFE TRUSTEES Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary+ • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick ■ Dean W. Freed • Thelma E. Goldberg • Mrs. Bela T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb^ • Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas t Deceased
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-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • 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 Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • 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 • Robert Kleinberg • John L. Klinck, Jr. • Faria H. Krentzman • Peter E. Lacaillade •
WEEK 26 TRUSTEES AND OVERSEERS 3 It takes finesse and an appreciation for subtle complexities to create a fine wine.
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INVESTMENT MANAGEMENT I TRUST SERVICES I ESTATE AND FINANCIAL PLANNING I FAMILY OFFICE SERVICES I ESTATE SETTLEMENT photos by Michael J. Lutch
Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra 0. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O'Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • 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 • 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 • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Braganca • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • 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 • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles ■ Richard Wurtman, M.D.
WEEK 26 TRUSTEES AND OVERSEERS 5 summer Harvard
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Harvard Summer School is proud to support the Boston Symphony Orchestra. the Boston Symphony |^R Orchestra for its Rich History jL of Enhancing Lives.
\Ne Look Forward to Doing the Same for Boston-Area Seniors.
Waterstone at Wellesley, Retirement Living for Independent Seniors. Opening Spring 2012.
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Seeking Shambhala Through October 21, 2012
A mythical land where peace reigns, wealth abounds, and there is no illness—visit today.
With generous support from the Jean S. and Frederic A. Sharf Exhibition Fund and the Dr. Robert A. and Dr. Veronica Petersen Fund for Exhibitions. The Buddha of Infinite Illumination (Maha-Vairocana) (detail), Tibetan, second half of the 17th century. Distemper on cotton. Denman Waldo Ross Collection.
Complementary Collections Rose-Marie and Eijk van Otterloo and the MFA Through June 24, 2012
Two collections of Dutch and Flemish masterpieces unite with works by Rembrandt and Dou.
Ludolf Bakhuizen, Ships in a Gale on the IJ before the City of Amsterdam, 1666. Oil on canvas. Rose-Marie and Eijk van Otterloo Collection.
Paper Zoo Through August 19, 2012
Picasso, Audubon, Calder, and more: images of the animal world delight visitors of all ages.
With support from the Benjamin A. Trustman and Julia M. Trustman Fund. Theodorus van Hoytema, Dierstudies (AnimalStudies): Angora Konynen (detail), 1898. Plate 2 from the portfolio of seven lithographs. Fund in memory of Horatio Greenough Curtis.
Don’t Miss April School Vacation Week Free drop-in programs, April 17-20
All images copyright Museum of Fine Arts, Boston, unless otherwise noted. © 2012 Museum of Fine Arts, Boston.
Museum of Fine Arts Boston mfa.org the new SA BSO News
“Underscore Friday” This Friday, May 4, 2012
This Friday night's Boston Symphony Orchestra concert under the direction of BSO Conductor Emeritus Bernard Haitink is the last of this season's six "Underscore Friday" concerts, in which attendees hear comments from the stage about the program, and the early 7 p.m. start-time allows them to socialize with each other, and with guest artists, at a complimen¬ tary reception following the performance. Tonight's concert will begin with greetings to the audience, on behalf of the entire orchestra, from BSO piccolo player Cynthia Meyers.
BSO Announces 2012-13 Symphony Hall Season
The Boston Symphony Orchestra's 2012-13 season continues the BSO's 132-year tradition of extraordinary music-making by spotlighting the virtuosic talents of BSO musicians along with an internationally acclaimed roster of conductors and guest soloists, many of them making debut performances with the orchestra in music ranging from large-scale master¬ pieces to intimate and less familiar works, including music by seven European and American composers of our time.
The BSO’s 2012-13 season will open on Saturday, September 22, when Itzhak Perlman makes his first Symphony Hall appearance with the BSO as both soloist and conductor for an all-Beethoven program. The subscription season begins the following weekend with con¬ cert performances of Gershwin's Porgy and Bess led by Bramwell Tovey, with Alfred Walker and Laquita Mitchell in the title roles, reprising their acclaimed performances heard at Tanglewood last summer. BSO Conductor Emeritus Bernard Haitink will end the season with two programs, leading music of Brahms, Schubert, and Mahler. Charles Dutoit will conduct three programs, including an operatic double bill of Stravinsky's The Nightingale and Ravel's L'Enfant et les sortileges, to initiate a multi-year survey featuring repertoire for which he is particularly acclaimed; Daniele Gatti will lead Mahler's Symphony No. 3 and programs marking the bicentennials of Verdi and Wagner; and two of today's most important British composers, Thomas Ades and Oliver Knussen, will conduct programs featuring their own works, representing the BSO's ongoing commitment to presenting composers as inter¬ preters. The season also features works by composers Henri Dutilleux, James MacMillan, Kaija Saariaho (the American premiere of her Circle Map for orchestra and electronics, a BSO co-commission), Roberto Sierra, and Augusta Read Thomas (the world premiere of her BSO-commissioned Cello Concerto No. 3).
The BSO will once again spotlight its own virtuosic musicians when individual sections of the orchestra, without a conductor, perform music of Britten, Mozart, Dvorak, and Tippett; when BSO principal players are featured in Frank Martin's Concerto for Seven Wind Instru¬ ments, Timpani, Percussion, and String Orchestra with Charles Dutoit conducting; and when the Hawthorne String Quartet, made up of BSO musicians, performs Ervin Schulhoffs
WEEK 26 BSO NEWS 9 Schantz Galleries CONTEMPORARY ART
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lO Concerto for String Quartet and Wind Orchestra with BSO Assistant Conductor Marcelo Lehninger on the podium.
Among the many other acclaimed guest artists appearing with the BSO in 2012-13 are con¬ ductors Stephane Deneve, Christoph von Dohnanyi, Christoph Eschenbach, Rafael Fruhbeck de Burgos, Alan Gilbert, Andris Nelsons in his subscription series debut, and Vladimir Jurowski in his BSO debut, and soloists Joshua Bell, Lang Lang in his subscription series debut, Radu Lupu, Garrick Ohlsson, Anne Sofie von Otter, Gil Shaham, Jean-Yves Thibaudet, and Dawn Upshaw.
For more information about the BSO's 2012-13 season, or to subscribe, please call 1-888- 266-7575 or visit bso.org. Single tickets go on sale Monday, August 6. The BSO's 2012-13 season is sponsored by Bank of America and EMC Corporation.
INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2011-2012 SEASON. FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 107 OF THIS PROGRAM BOOK.
The Carmine A. and Beth V. Marion, MA. He has also served as a Trustee Martignetti Concert of the Brooks School in North Andover, MA, Friday, May 4, 2012 and the Park School in Brookline, MA.
The BSO performance on May 4 is supported Mrs. Martignetti is also an active volunteer by a generous gift from Great Benefactors throughout Boston, serving on the Dean's Carmine A. and Beth V. Martignetti. Mr. and Council of the Harvard School of Public Health Mrs. Martignetti have been BSO subscribers and on the Brigham and Women's Hospital and donors for many years. Mr. Martignetti Trust Board. Previously Mrs. Martignetti served joined the BSO Board of Overseers in 1999 as a Trustee and President of the Friends of and was elected to the Board of Trustees in Brigham and Women's Hospital. Mr. and Mrs. 2007. He currently serves as co-chair of the Martignetti are both graduates of Boston Leadership Gifts Committee and on the Cam¬ College, where they remain actively involved paign Steering and Overseers Nominating as alumni. They have three children and reside committees. Previously he served on the in Chestnut Hill, MA. Revenue Enhancement Committee. Together, Mr. and Mrs. Martignetti served as co-chairs The Joseph and Deborah Plaud of this season's Opening Night at Symphony, Concert, Saturday, May 5, 2012 which raised more than $1.1 million for the BSO and established a new fundraising record Dr. Joe Plaud is an avid supporter of Boston for the gala. The couple also co-chaired Open¬ artistic and cultural activities, and holds mul¬ ing Night at Pops in 2007 and have been tiple program subscriptions, including to members of many Opening Night commit¬ Saturday-evening performances of the BSO. tees. They are members of the Higginson He is a forensic clinical psychologist who has Society at the Encore level and have support¬ held several faculty positions in the greater ed many corporate events through Martignetti Boston area, and was chosen to give the Companies. centenary address on the legacy of Dr. Ivan Pavlov to behavior therapy at the University Mr. Martignetti is President of Martignetti of Madrid. Companies, a distributor of wine and spirits throughout New England. In addition to his Joe currently consults on notable criminal involvement at the Symphony, Mr. Martignetti and civil court cases throughout the country. serves as a Trustee of Tabor Academy in He has also been active for many years in
WEEK 26 BSO NEWS 11 ARBELLA IS PROUD TO SUPPORT THE Boston Symphony Orchestra
Amelia is committed to supporting charitable
organizations that work so hard to positively
impact the lives of those around them. We are
proud to be local and to help our neighbors, ARBE L L A
individuals and families in our communities. preserving the legacies of Franklin and Eleanor office staff, it takes hundreds of people to put Roosevelt, and serves on the Board of Gover¬ on a performance—and it takes the dedicated nors of the Roosevelt Institute in New York. support of thousands of Friends of the BSO Dr. Debbie Plaud is a child clinical psycholo¬ to make it all possible. For each $1 the BSO gist whose work focuses on autism and receives in ticket sales, it must raise an addi¬ developmental disabilities. Debbie works pri¬ tional $1 to cover its annual expenses. Friends marily with schoolchildren in Northbridge, of the BSO play their part to help bridge that Massachusetts. She is also passionate about gap, keeping the music playing for the delight animal welfare, including her work with Poodle of audiences all year long. In addition to join¬ Rescue of New England. ing a community of like-minded music lovers, becoming a Friend of the BSO also entitles Joe and Debbie's daughter, Brianna Plaud, you to benefits that bring you closer to the recently graduated college and resides in music you love to hear. Friends receive ad¬ Boston, pursuing a career in animation and vance ticket ordering privileges, discounts media arts. at the Symphony Shop, and the BSO's online newsletter InTune, invitations to such exclu¬ The Nathan R. Miller Family sive donor events as BSO and Pops working Guest Artist Fund rehearsals, and much more. Friends member¬ ships start at just $75. To play your part with The appearance of the guest artists on the BSO by becoming a Friend, please call Saturday night is supported by a generous the Friends Office at (617) 638-9276, e-mail gift from the Nathan R. Miller Family. The [email protected], or join online at BSO greatly appreciates their generous sup¬ bso.org/contribute. port. Mr. Miller became a Trustee of the BSO in 2003, having served as an Overseer since 1988. As a Great Benefactor, Mr. Miller is a Orchestrate Your Legacy: long-standing supporter of the BSO and is Join the Walter Piston Society well known for his naming gifts of the Miller When you establish a deferred gift plan for Room and box office at Symphony Hall. the Boston Symphony Orchestra, you will Nathan and his wife Lillian, who attended the become a member of the Walter Piston New England Conservatory of Music, have a Society, joining a group of the BSO's most very strong commitment to music and the loyal supporters who are helping to ensure universal joy it brings. In 1985, the Millers' the future of the BSO's extraordinary per¬ regard for BSO Music Director Laureate Seiji formances. Named for Pulitzer Prize-winning Ozawa prompted them to establish the Seiji composer and noted musician Walter Piston, Ozawa Endowed Conducting Fellowship at who endowed the Principal Flute Chair with the Tanglewood Music Center. They also a bequest, the Piston Society recognizes and endowed the Lillian and Nathan R. Miller honors those who have provided for the future Chair in the cello section of the BSO in 1987, of the Boston Symphony Orchestra, Boston and have named seats in Symphony Hall. Pops, or Tanglewood by establishing a be¬ quest intention (through one's will, trust, IRA, The Nathan R. Miller Family continues to be or insurance policy), or by establishing a among the BSO’s most generous philanthro¬ charitable trust or gift annuity that generates pists, and we warmly thank them for their income for life or a term of years. Members support. of the Walter Piston Society are offered a variety of benefits, including invitations to Play Your Part: Become a various events in Boston and at Tanglewood. Friend of the BSO In addition, Walter Piston Society members are recognized in program books and the At Symphony Hall, everyone plays a part. BSO's annual report. If you would like more From the musicians on stage, to the crew information about joining the Walter Piston behind the scenes, to the ushers and box
WEEK 26 BSO NEWS 13 Casner & Edwards, LLP Personalized Attention for Businesses, Institutions and Individuals
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14 Society, or if you are uncertain about whether Players (Catherine Hudgins, clarinet; Anne you already are (or should be) a member, Howarth, horn; William Rounds, cello, and please contact John MacRae, Director of Elizabeth Foulser, bass) for their second Principal and Planned Giving, at (617) 638- annual Memorial Day Concert to benefit the 9268 [email protected]. West Stockbridge Historical Society, on Friday, May 25, at 7 p.m. in the 1854 Town BSO Members in Concert Hall (second floor), 9 Main St., West Stock- bridge. The "Turn of the Centuries" program The Walden Chamber Players, whose mem¬ includes Beethoven's Septet in E-flat, Op. 20 bership includes BSO musicians Tatiana (c.1800), Kodaly's Intermezzo for String Trio Dimitriades and Alexander Velinzon, violins, (c.1900), and Nielsen's Serenata in vano (also Thomas Martin, clarinet, and Richard Ranti, c.1900). Tickets are $25 and available from bassoon, perform "Music from the Under¬ West Stockbridge merchants, or by emailing world''—works by Stravinsky, Ysaye, and [email protected]. Pergolesi—on Sunday, May 13, at 4 p.m. at Wilson Chapel, Andover Newton Theological The Information Table: School, 210 Herrick Road, Newton Centre. To reserve tickets, call (978) 985-6872 or email Find Out What’s Happening [email protected]. On Sunday, At the BSO May 20, at 2 p.m., the ensemble presents a Are you interested in upcoming BSO concert program including Mozart's Piano Quartet in information? Special events at Symphony E-flat, K.493, Dohnanyi's Serenade in C for Hall? BSO youth activities? Stop by the infor¬ string trio, Op. 10, and Mussorgsky's Pictures mation table in the Peter & Anne Brooke at an Exhibition for solo piano, with special Corridor on the Massachusetts Avenue side guest pianist Sergey Schepkin, at the Currier of Symphony Hall (orchestra level). There Museum, 150 Ash Street, Manchester, New you will find the latest performance, mem¬ Hampshire. For ticket information, call (603) bership, and Symphony Hall information 669-6144. provided by knowledgeable members of the Ronald Knudsen leads the New Philharmonia Boston Symphony Association of Volunteers. The BSO Information Table is staffed before Orchestra in the final "Classics" concerts of each concert and during intermission. their season on Saturday, May 19, at 8 p.m. and Sunday, May 20, at 3 p.m. The program, presented in collaboration with New World Comings and Goings... Chorale, Holly Krafka, director, is entitled Please note that latecomers will be seated "Musical Kaleidoscope: The Beauty of Brahms" by the patron service staff during the first and features three works: Nanie, Schicksalslied convenient pause in the program. In addition, ("Song of Destiny"), and the Symphony No. 1. please also note that patrons who leave the Tickets are $30, with discounts for seniors, hall during the performance will not be students, and families. For more information, allowed to reenter until the next convenient or to order tickets, call (617) 527-9717 or visit pause in the program, so as not to disturb the newphil.org. performers or other audience members while BSO members Sheila Fiekowsky, violin, Kazuko the concert is in progress. We thank you for Matsusaka, viola, and Gregg Henegar, bas¬ your cooperation in this matter. soon, join the West Stockbridge Chamber
WEEK 26 BSO NEWS 15 Commonwealth Worldwide is honored to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops.
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Premier Corporate and Event Travel ON DISPLAY IN SYMPHONY HALL This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of the building, displays the breadth and depth of the Archives’ holdings, which documents countless facets of the orchestra’s history—music directors, players and instrument sections, and composers, as well as the world-famous acoustics, architec¬ tural features, and multi-faceted history of Symphony Hall.
HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF SYMPHONY HALL: • display cases in the Hatch Corridor spotlighting two works commissioned by the BSO in conjunction with its 50th anniversary during the 1930-31 season, Stravinsky’s “Symphony of Psalms” and Prokofiev’s Symphony No. 4 • display cases in the Massachusetts Avenue corridor focusing on BSO founder Henry Lee Higginson and the formation of the BSO’s first Board of Trustees in 1918 • also in the Massachusetts Avenue corridor, a display case focusing on the architec¬ tural details of the clerestory windows in Symphony Hall that were refurbished and reopened in 2009
EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE: • a display case focusing on the history and membership of the BSO’s trombone section • a display case focusing on the history and membership of the BSO's flute section • a display case focusing on the search for a new music director in 1918, leading to the appointment of the BSO’s first French conductor, Henri Rabaud • a display in the Cabot-Cahners Room on the history of outside events at Symphony Hall, focusing particularly on dance performances, musical recitals, and travelogues
TOP OF PAGE, LEFT TO RIGHT: Roy Harris with members of the BSO's trombone section in February 1943, when the BSO premiered his Symphony No. 5 (photograph by Elizabeth Timberman)
Record cover for the BSO’s 1950 RCA Victor commercial recording of Prokofiev’s "Peter and the Wolf" featuring Eleanor Roosevelt as narrator
Publicity photo for a Symphony Hall appearance by Russian ballerina Anna Pavlova, c.1920-21 >
Boston Symphony Orchestra
2011-2012
FIRST VIOLINS Xin Ding* Cathy Basrak Adam Esbensen* Donald C. and Ruth Brooks Heath Assistant Principal Blaise Dejardin* Malcolm Lowe chair, endowed in perpetuity Anne Stoneman chair, Concertmaster endowed in perpetuity Charles Munch chair, Glen Cherry* BASSES endowed in perpetuity Edward Gazouleas Yuncong Zhang* Lois and Harlan Anderson chair, Edwin Barker Tamara Smirnova endowed in perpetuity Principal Associate Concertmaster SECOND VIOLINS Harold D. Hodgkinson chair, Helen Horner McIntyre chair, Robert Barnes endowed in perpetuity endowed in perpetuity Haldan Martinson Michael Zaretsky Principal Lawrence Wolfe Alexander Velinzon Carl Schoenhof Family chair, Marc Jeanneret Assistant Principal Assistant Concertmaster endowed in perpetuity Maria Nistazos Stata chair, Robert L. Beal, Enid L, and Mark Ludwig* endowed in perpetuity Bruce A. Beal chair, endowed Vyacheslav Uritsky Rachel Fagerburg* in perpetuity Assistant Principal Benjamin Levy Kazuko Matsusaka* Leith Family chair, endowed Elita Kang Charlotte and Irving W. Rabb chair, endowed in perpetuity in perpetuity Assistant Concertmaster Rebecca Gitter* Edward and Bertha C. Rose chair, Sheila Fiekowsky Dennis Roy endowed in perpetuity Shirley and J. Richard Fennell Joseph and Jan Brett Hearne CELLOS Bo Youp Hwang chair, endowed in perpetuity chair John and Dorothy Wilson chair, Ronald Knudsen Jules Eskin Joseph Hearne Principal endowed in perpetuity David H. and Edith C. Howie Philip R. Allen chair, James Orleans* chair, endowed in perpetuity Lucia Lin endowed in perpetuity Todd Seeber* Dorothy Q. and David B. Arnold, Jr., Ronan Lefkowitz chair, endowed in perpetuity Martha Babcock Eleanor L. and Levin H. Campbell Nancy Bracken* Assistant Principal chair, endowed in perpetuity Ikuko Mizuno Vernon and Marion Alden chair, Aza Raykhtsaum* John Stovall* Muriel C. Kasdon and Marjorie C. endowed in perpetuity Paley chair Robert Bradford Newman chair, endowed in perpetuity Sato Knudsen Jennie Shames* Mischa Nieland chair, FLUTES Ruth and Carl J. Shapiro chair, Bonnie Bewick*5 endowed in perpetuity Elizabeth Rowe endowed in perpetuity James Cooke* Mihail Jojatu Principal Valeria Vilker Kuchment* Walter Piston chair, endowed Victor Romanul*5 Sandra and David Bakalar chair Theodore W. and Evelyn in perpetuity Bessie Pappas chair Berenson Family chair Jonathan Miller* Clint Foreman Catherine French* Richard C. and Ellen E. Paine Tatiana Dimitriades* chair, endowed in perpetuity Myra and Robert Kraft chair, Stephanie Morris Marryott and Jason Horowitz* endowed in perpetuity Franklin J. Marryott chair Owen Young* Julianne Lee* John F. Cogan, Jr., and Mary L. Elizabeth Ostling Si-Jing Huang* Cornille chair, endowed in Associate Principal Catherine and Paul Buttenwieser Ala Jojatu* perpetuity Marian Gray Lewis chair, chair endowed in perpetuity Mickey Katz* VIOLAS Nicole Monahan* Stephen and Dorothy Weber Mary B. Saltonstall chair, Steven Ansell chair, endowed in perpetuity endowed in perpetuity Principal Alexandre Lecarme* Wendy Putnam * Charles S. Dana chair, endowed Kristin and Roger Servison chair in perpetuity
BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR THOMAS WILKINS
LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity
18 photos by Michael J. Lutch
PICCOLO Suzanne Nelsen Thomas Siders HARP John D. and Vera M. MacDonald Assistant Principal Cynthia Meyers chair Kathryn H. and Edward M. Jessica Zhou Evelyn and C. Charles Marran Lupean chair Nicholas and Thalia Zervas chair, chair, endowed in perpetuity Richard Ranti endowed in perpetuity by Associate Principal Michael Martin Sophia and Bernard Gordon Diana Osgood Tottenham/ Ford H. Cooper chair, OBOES Hamilton Osgood chair, endowed in perpetuity endowed in perpetuity VOICE AND CHORUS John Ferrillo Principal TROMBONES John Oliver Mildred B. Remis chair, CONTRABASSOON Tanglewood Festival Chorus endowed in perpetuity Toby Oft Conductor Gregg Henegar Principal Alan J. and Suzanne W. Dworsky Mark McEwen Helen Rand Thayer chair J.P, and Mary B. Barger chair, chair, endowed in perpetuity James and Tina Collias chair endowed in perpetuity
Keisuke Wakao HORNS Stephen Lange LIBRARIANS Assistant Principal Faria and Harvey Chet Krentzman James Sommerville Marshall Burlingame chair, endowed in perpetuity Principal BASS TROMBONE Principal Helen Sagoff Slosberg/Edna S. Lia and William Poorvu chair, Douglas Yeo Kalman chair, endowed in endowed in perpetuity John Moors Cabot chair, ENGLISH HORN perpetuity endowed in perpetuity William Shisler Robert Sheena Richard Sebring Beranek chair, endowed in Associate Principal John Perkel perpetuity Margaret Andersen Congleton TUBA chair, endowed in perpetuity Mike Roylance ASSISTANT CLARINETS Rachel Childers Principal CONDUCTORS John P. II and Nancy S. Eustis Margaret and William C. Marcelo Lehninger William R. Hudgins chair, endowed in perpetuity Rousseau chair, endowed Principal in perpetuity Anna E. Finnerty chair, Ann S.M. Banks chair, (position vacant) endowed in perpetuity endowed in perpetuity Elizabeth B. Storer chair, Sean Newhouse endowed in perpetuity TIMPANI Michael Wayne Jason Snider Timothy Genis Thomas Martin Sylvia Shippen Wells chair, PERSONNEL Associate Principal & Jonathan Menkis endowed in perpetuity MANAGERS E-flat clarinet Jean-Noel and Mona N. Tariot Lynn G. Larsen Stanton W. and Elisabeth K. chair PERCUSSION Davis chair, endowed in Bruce M. Creditor perpetuity Assistant Personnel Manager TRUMPETS J. William Hudgins Peter and Anne Brooke chair, Thomas Rolfs endowed in perpetuity BASS CLARINET STAGE MANAGER Principal Daniel Bauch Craig Nordstrom Roger Louis Voisin chair, John Demick endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Linde BASSOONS Benjamin Wright chair Arthur and Linda Gelb chair Richard Svoboda (position vacant) Principal Peter Andrew Lurie chair, Edward A. Taft chair, endowed in perpetuity * participating in a system endowed in perpetuity of rotated seating (position vacant) § on sabbatical leave Barbara Lee chair
WEEK 26 BOSTON SYMPHONY ORCHESTRA 19 Deloitte.
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Copyright © 2012 Deloitte Development LLC. All rights reserved. Member of Deloitte Touche Tohmatsu Limited A BSO Player’s Perspective
This interview with BSO assistant concertmaster Elita Kang—who joined the orchestra in 1997, became assistant concertmaster in February 2001, and occupies the Edward and Bertha C. Rose Chair in the orchestra's first violin section—is another in the series of interviews with BSO members appearing in the Boston Symphony Orchestra program book this season. For a full biography of Elita Kang, please visit bso.org.
What has playing in the BSO meant to you as a person and as a musician?
Since I was so young when I joined the orchestra, I initially found this to be a very scary and intimidating place. But now, in my fifteenth season, it's been really fascinating to hear how the BSO has changed over the years, with regard to personnel changes within the orchestra, and also given the different styles of music directors Seiji Ozawa and James Levine. And now that I feel somewhat better informed as a musician with more experience, I also realize how much personal validation I get from playing with a great orchestra.
What do you think distinguishes the BSO from other great orchestras?
I honestly didn't know what a great orchestra this was when I first joined it, or how incredibly fortunate we are to have Symphony Hall. At first I didn't realize that playing in an orchestra meant more than just following a baton and playing together. My training felt somewhat com¬ partmentalized; becoming a more advanced musician was about taking on different kinds of repertoire, one after another—solo pieces, concer¬ tos, chamber music, orchestral works. But Seiji would always ask us to think what it's like to play chamber music. And I now realize that this culture of chamber music—of breathing together, playing together, melding our individual sounds, and really listening to each other—isn't something you find everywhere. This is also something that Jimmy focused on a lot, as well as on soloistic elements that add another level of aware¬ ness to orchestral playing.
The fact that we always get to rehearse and perform on the stage of Symphony Hall is also so much a part of our sound. It lets us shape our sound and vary it in a way that makes for constant polishing and further adds to our collective experience. It's still amazing to me how, when I was still new here and we would be rehearsing what could be thought of as a "standard piece," my colleagues would remember how we did it with any number of different guest conductors.
What distinguishes a great conductor from a good one?
Something I once heard from someone else comes to mind, which seems very apt to me here: this is rather like asking a mouse about its favorite cat!
But seriously: the best conductors not only have something of their own to offer, but also know when to leave us alone, realizing that we have collectively played most of the stan¬ dard repertoire many more times than most of them have conducted it. The really good
WEEK 26 A BSO PLAYER’S PERSPECTIVE 21 ones trust us to bring what we have to the table, embellishing and tweaking rather than micro-managing and cutting off communication. The smart ones know how to work in an appreciative way with what's already there, since it's most likely going to be pretty darn good to begin with, so the result will be a much better performance because of the give and take between us and the podium.
What concerts have you played that you've found particularly memorable?
The conductor-less program we played this past January was really special; all of my colleagues rose to the occasion in showing what we do best, making an effort to play large-scale chamber music. And then our guest conductor on the second half of the program, Giancarlo Guerrero, somehow brought a whole new dimension to The Rite of Spring, even though it's a piece we've played so many times: he wasn't just conducting from his knowledge of the score but seemed to know the ballet and the choreography, adding a certain physicality to it that I hadn't really been aware of.
It's also been very interesting and exciting to play the Symphonie fantastique with both Seiji and Jimmy. I learned it under Seiji, so the first interpretation in my fingers, ears, and eyes was the way Seiji did it. He was always so beautiful to watch; it was so balletic, he was so good at indicating physically what he wanted from the orchestra. I have yet to work with anyone as good as he was in using his hands, drawing from us what he wanted. With Jimmy there was a broader range of dynamics and tempi, generally more extreme in a way that, in this kind of temperamental piece, worked particularly well. And playing
22 Mahler s Ninth Symphony was also very moving with both of them, when Seiji did it in his final Symphony Hall concerts as music director in 2002 and when Jimmy did it with us for the first time in 2007.
Bernard Haitink has always had a very special relationship with the orchestra; he's definitely part of the BSO family. The mutual fondness and respect built into our relationship with him is something very rare, and has made so many of his performances special. I have particularly fond memories of his European tour with us in 2001. I've also particularly liked our concerts with Kurt Masur, who's one of my
favorites—not flashy, but extremely sincere, and a Michael J. Lutch great musician. String players aren't particularly fond of Bruckner—in so many passages there’s so much tremolo, while the brass seem to have most of the good stuff. But in his performances of Bruckner's Fourth and Seventh symphonies, Masur felt the music so sincerely and conveyed the depth of emotion behind the writing in a way that made a huge differ¬ ence, and made the music mean more to me. Among our other guest conductors, there was the time Charles Dutoit conducted Stravinsky's Petrushka and Rite of Spring at the end of the summer in 2004. By that point we were pretty exhausted: we play so much music at Tanglewood every year! But Dutoit has such a good gut sense for rhythm and color that he somehow revitalized me; it felt so fresh and exciting, as did a later Tanglewood performance he gave of Rachmaninoff's Symphonic Dances. Stephane Deneve, who's still relatively new to the BSO, has also done some similarly colorful repertoire with us, like Ravel's La Valse and Mother Goose. His La Valse last season brought forth all sorts of different and unex¬ pected things in the music. In comparison to Dutoit's perfumed elegance, Deneve made it darker and more manic in a way that's really stayed with me.
What sorts of changes have you seen during your time with the orchestra?
The orchestra has been constantly evolving, going through cycles like any other living organism. I can honestly say that I feel like the BSO has never sounded better. We have a lot of principal players in their prime, as they'll be for another ten to fifteen years. We have a great combination of older players with a lot of experience and younger players with less experience but lots of energy. The BSO's culture of playing—the way we play— somehow gets handed down through the players with a sense-memory of how the orchestra played certain repertoire or pieces over a long period of time. The BSO has an amazing collective memory for sound, for colors, and for musical interpretation.
What repertoire do you find particularly challenging or difficult, and why?
Mozart and Beethoven, both of which I love, I actually find very hard to play. They're not necessarily the most technically difficult, but both of them wrote with such clarity that
WEEK 26 A BSO PLAYER'S PERSPECTIVE 23 ROCKPORT CHAMBER MUSIC FESTIVAL
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JOIN US FOR A SPECIAL EVENING TO BENEFIT ROCKPORT MUSIC AND ITS EDUCATION AND OUTREACH PROGRAMS ROCKPORT AS WE OPEN THE 31st SEASON OF THE ROCKPORT CHAMBER MUSIC FESTIVAL! MUSIC Call 978.546.7391, x106 for ticket information Or visit our website at www.rockportmusic.org there s no room for anything false, so things that don't ring true in performance stick out immediately. Especially when we're in the middle of Pops, we'll suddenly be playing a bit of Mozart or Beethoven, and I realize that they represent the paradigm of music: this is what we re supposed to be doing! They can be scary to play because one so wants to get them right. You want to stay true to what's written, and keep it fresh by bringing your own interpretation to the table, by inserting a little of your own personality—but without sullying what's there and already basically perfect, without degrading the purity and genius of the writing. No matter how many times we've played this music, e.g., an old chestnut like the Beethoven Fifth, it's always useful to remember that somebody in the audience is hearing it for the first time; and it's great to be pleasantly surprised at what our colleagues, or a new conductor, bring to the music to make it fresh even after countless performances.
Aside from the instrument itself, what are some of the ways in which being a member of your section of the orchestra differs from the experience of players in other sections?
Being a first violinist is really physically demanding. Most of us are very often playing the entire program, which isn't the case for winds and brass. The section tends to be a lot more exposed because we're in the uppermost register with, to quote Jimmy, the Hauptstimme, the principal voice. But it's also a lot of fun: technically very athletic, with very little drudgery; and it's challenging, with not a lot of time to sit back and rest on your laurels.
It took me a couple of years to figure out what it means to be an assistant concertmaster. The way I see the job, it's the job of the two of us to act as a conduit between the con- certmasters on the front stand and the rest of the section, to pass back any information, and to really double what the front stand, and particularly the concertmaster, is doing, so all of us in the section can have a unified approach to how we tackle any piece: where we're going to be on the bow, what sort of articulation, sound, vibrato—all these variables that make a huge difference to how something can sound.
What are some of your other interests and activities, and how do they factor into your work with the orchestra? This is a funny question to answer, since my work persona, what I bring to the stage, feels very different from the rest of me. I love my dog (a really cute mini-schnauzer). I love to travel. I read a ton (I always have), and I love to eat, whether cooking on my own or going out. When I think about things in those terms, my life sounds really pedestrian!
WEEK 26 A BSO PLAYER'S PERSPECTIVE Farewell, Thanks, and All Best
Two departing members of the Boston Symphony Orchestra will be recognized on stage at the end of this week's concerts. BSO violist Marc Jeanneret will retire from the Boston Symphony Orchestra in December 2012, following more than 35 years of service to the orchestra. BSO bass trombonist Douglas Yeo will retire from the orchestra in August 2012, during the Tanglewood season, following more than 27 years of service to the BSO. We extend heartfelt thanks to both of them for their many years of dedication and service to the BSO and the musical community of Boston, and we wish them well in all of their future endeavors.
Born in France, MARC JEANNERET grew up in a musical family. His mother played the piano, and several of his siblings went on to become professional musicians. Mr, Jeanneret started first on the violin and later switched to the viola, attracted by the distinctive personality of the instrument. He attended the Conservatoire National Superieur de Musique de Paris as a student of both Leon Pascal (violist of the Pascal String Quartet) in viola and Pierre Pasquier in chamber music, graduating with First Prize in 1961. In 1962, he won a "Medaille avec distinction" at the Geneva International Viola Competition and appeared as soloist with the Suisse Romande Orchestra. After completing his mandatory military service, he spent the next several years in Paris, where he played occasionally under former BSO music director Charles Munch, both in Paris and on tours. He toured America twice with the Paris Chamber Orchestra. A subsequent tour of the U.S. with the Monte Carlo Orchestra led by Paul Paray gave Mr. Jeanneret the opportunity to meet William Primrose, who, after hearing him play, accepted him as a scholarship student at Indiana University. Over the course of three years of study with Mr. Primrose, Mr. Jeanneret won a concerto competi¬ tion, performed on WFIU radio, was awarded the performer's certificate, and gained a new appreciation for the viola as a solo instrument, all the while building a lasting rela¬ tionship with Mr. Primrose.
Back in Paris, Mr. Jeanneret became a member of the Orchestre du Theatre National de I'Opera, later becoming assistant principal viola of the Orchestre National de France and violist of the Via Nova String Quartet, performing on French television and touring and traveling as far as Madagascar to perform as part of a French cultural mission. In the United States, prior to joining the BSO, he was principal viola of the Indianapolis Symphony under Izler Solomon, where he met his wife Sharon (a member of the first violin section); principal viola of the Baltimore Symphony Orchestra (appearing as soloist with that
26 orchestra), assistant principal viola of the Pittsburgh Symphony under William Steinberg, and principal viola of the Pittsburgh Ballet Orchestra.
Mr. Jeanneret joined the BSO in the fall of 1977, just in time to experience the blizzard of 78! He especially enjoyed his first twenty-five years under Seiji Ozawa and the many performances led by BSO Conductor Emeritus Bernard Haitink. Other highlights of his tenure included traveling on some memorable tours and playing with some great guest conductors, such as Leonard Bernstein, Kurt Sanderling, and Eugene Ormandy, to name a few. Special treats included playing solo with the Boston Pops led by John Williams and performing in a chamber music concert with Yo-Yo Ma and BSO colleagues.
The Jeannerets have two daughters and five grandchildren. Looking ahead, they plan to enjoy more leisure time with family and friends, travel, and spend more time in France, particularly in Provence, where they have many relatives, old friends, and a lifetime of wonderful memories.
Hired by Seiji Ozawa, bass trombonist DOUGLAS YEO (yeodoug.com) joined the Boston Symphony in May 1985; he came to Boston from the Baltimore Symphony, where he held the same position from 1981 to 1985. He is a 1976 graduate of Wheaton College in Illinois and earned his master's degree from New York University in 1979.
During his more than 27 seasons in the BSO, Mr. Yeo has served on the faculties of the New England Conservatory of Music and the Tanglewood Music Center. He has given master classes and recitals on five continents and released four best¬ selling solo trombone recordings to critical acclaim. He has been a soloist with the Boston Pops Orchestra on numerous occasions, championing concertos by Christopher Brubeck and John Williams. His keen interest in historical low brass instruments has led him to become a leading scholar and performer on the serpent and ophicleide; his CD, "Le Monde du Serpent," and DVD, "Exploring the Serpent: An Histori¬ cal and Pedagogical Overview," broke important new ground for the instrument. He has written the entries on serpent and buccin (a form of early trombone with zoomorphic shaped bell) for the forthcoming edition of The New Grove Dictionary of Musical Instru¬ ments; his serpent, trombone, and ophicleide playing may be heard on museum audio guides around the world. From 1998 to 2008, Mr. Yeo was music director of the New England Brass Band; during his tenure he led the band to two North American Brass Band Association (NABBA) Championship titles. He also served as NABBA's vice-president and was editor of its publication, The Brass Band Bridge.
Douglas Yeo and his wife, Patricia, will relocate to Goodyear, Arizona, where he will take up the position this fall of Professor of Trombone at Arizona State University
WEEK 26 FAREWELL, THANKS, AND ALL BEST Welcome Home!
Bob and Carol Henderson, Fox Hill Village residents
No matter how long their absence, each time the Hendersons return home from their world travels or visiting their homes in New Hampshire and Florida, they feel truly welcomed by the friendly residents and loyal staff of Fox Hill Village. Bob, the former CEO of ITEK, and Carol, mother of four sons, appreciate the availability of onsite cultural activities like college courses, movies, lectures, and concerts, the convenient fitness center, and dependable security that means worry-free travel. Passionate supporters of the arts, Bob is an Honorary Trustee and former Chairman of the Board of the MFA and Carol is a Life Trustee of the New England Conservatory and an Overseer of the BSO. Both love living so close to Boston making it a breeze to attend functions in the city yet leave time to cheer at their grandsons’ football games in Dedham on the same day!
Superb options in dining, distinguished floor plans, Mass General associated Wellness Clinic, and most importantly, the flexibility and the accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction.
Like Bob and Carol, come and experience for yourself the incomparable elegance of Fox Hill Village, New England’s premiere retirement community.
To learn more, call us at 781-329-4433 or visit us on the web at: www.foxhillvillage.com
Developed by the Massachusetts General Hospital.
Fox Hill Village at Westwood
10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B offRoute 128) (asutrombonestudio.org). The Yeos also plan to continue pursuing their love of hiking in the great National Parks of the American West.
On the occasion of his departure from the BSO, Douglas Yeo writes:
"My career as a trombonist in the BSO has been one lived in community—sharing my playing with my colleagues as well as with you, our devoted audience. Those perform¬ ances can never be replicated—the art of music-making is a unique, ephemeral blessing. I feel fortunate to have experienced moments of inexpressible beauty, collaboration, and synergy with each of you. From Big Bird to Leonard Bernstein, Carol Channing to Yo-Yo Ma, Glenn Miller to Hector Berlioz, my tenure with the BSO and Boston Pops has run the gamut from the amusing to the sublime. All of this I count as a great gift from God, and my life is richer for these memorable experiences we have shared together. In an increas¬ ingly dysfunctional and disordered world, I feel privileged to have had opportunities to use music to challenge and encourage those whose paths have crossed mine.
"As my wife and I head to a new chapter of life in the southwest, I leave the BSO with gratitude for my nearly three decades as a member of this extraordinary musical institution, and for the myriad lessons learned that I will continue to pass on to the next generation of young musicians at Arizona State University. Westward Ho! Westward Yeo!"
Consignments invited for upcoming auctions + 1 617 742 0909 [email protected] .•//f Sold for $6.4 million, a world record for the artist .. v: Vasilii Dmitrievich Polenov ’He that is without sin’, 1908
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WEEK 26 FAREWELL, THANKS, AND ALL BEST 29 BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
Boston Symphony Orchestra i 131st season, 2011-2012
Thursday, May 3, 8pm
Friday, May 4,7pm | the carmine a. and beth v. martignetti concert (Underscore Friday concert, including comments from the stage)
Saturday, May 5, 8pm | the Joseph and deborah plaud concert
BERNARD HAITINK conducting
STRAVINSKY "SYMPHONY OF PSALMS"
I. J = 92 (Psalm 38, verses 13 and 14) II. J> = 60 (Psalm 39, verses 2, 3, and 4) III. J = 48 -J = 80 (Psalm 150)
TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR
Text and translation are on page 41.
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30 BEETHOVEN SYMPHONY NO. 9 IN D MINOR, OPUS 125
Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I— Presto—Tempo I Adagio molto e cantabile—Andante moderato— Tempo I—Andante—Adagio Presto—Allegro ma non troppo—Vivace— Adagio cantabile—Allegro moderato— Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alia Marcia— Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto— Prestissimo
JESSICA RIVERA, SOPRANO MEREDITH ARWADY, CONTRALTO ROBERTO SACCA, TENOR GUNTHER GROISSBOCK, BASS TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR
Text and translation begin on page 52.
THIS YEAR'S BOSTON SYMPHONY ORCHESTRA RETIREES WILL BE ACKNOWLEDGED ON STAGE AT THE END OF THESE CONCERTS (SEE PAGE 26).
THIS WEEK'S PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS.
THURSDAY'S PERFORMANCE IS SUPPORTED BY A GENEROUS BEQUEST FROM ARLENE M. JONES.
SATURDAY EVENING’S GUEST ARTIST APPEARANCES ARE SUPPORTED BY THE NATHAN R. MILLER FAMILY GUEST ARTIST FUND.
UBS IS PROUD TO SPONSOR THE BSO'S 2011*2012 SEASON.
The Thursday and Saturday concerts will end about 10, the Friday Underscore concert about 9:15. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont," generously donated to the Boston Symphony Orchestra by the O'Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other 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.
WEEK 26 PROGRAM 31 O-, The Program in Brief...
As composer, pianist, and conductor, Igor Stravinsky played an important role in the BSO's legacy as a wellspring of modern music during Serge Koussevitzky's tenure as music director. His Symphony of Psalms was one of ten works commissioned for the 50th anniversary of the Boston Symphony Orchestra, and without question one of the most enduring.
The three-movement piece is not a symphony in the standard sense. Further, it is ritualistic in a way that characterizes many of Stravinsky's greatest works, including The Rite of Spring, Les Noces, Oedipus Rex, and Agon. The choral writing is austere, treating the voices almost as instruments, a sonorous body in balance with the orchestral ensemble. The psalm texts are in Latin, creating a distancing objectivity and placing the emphasis on the quality of the sound of massed human voices. To underline this, although counter¬ point is to be found in abundance in the instrumental music, there is little traditional part-writing and no text-painting in the choral parts. The effect is both archaic and star¬ tlingly modern.
Long considered a masterpiece, Symphony of Psalms was recognized early on as something extraordinary. In his review of the BSO's American premiere performance in December 1930, Harold Taylor Parker in the Boston Transcript wrote, "In [the Symphony of Psalms] Stravinsky has achieved that final mastery for which most creative artists strive and to which few attain.... Throughout the Symphony of Psalms there is the thought, the mood, the emotion, in instant, exact, entire impact upon the audience."
Beethoven composed his Ninth Symphony in response to an 1822 commission from the Philharmonic Society of London, beginning the main work of composition while complet¬ ing the even larger project of the Missa Solemnis. The composer was by this time entirely deaf. Although Beethoven beat time onstage, the real conducting at the 1824 premiere was done by Michael Umlauf, who, at the end, had to turn Beethoven around so he could see the audience's enthusiastic reaction.
As familiar and as frequently performed as Beethoven's Ninth Symphony is today, a modern listener can't possibly fully imagine the impact this innovative, form-exploding piece had on listeners at that first performance and on composers in succeeding genera¬ tions. Having continued virtually single-handedly to keep the symphony relevant in Vienna after Haydn, Beethoven made each of his big works utterly unique, each telling a different musical story and conjuring an astonishing range of moods. The Ninth Symphony, his last, is a culmination not only of his ideas about orchestral music but also of his humanistic philosophy. The first three movements, though large, are very much in the tradition of the instrumental symphony. The vast setting of Schiller's fraternal ode "To Joy" for vocal soloists, chorus, and orchestra as its finale was an unprecedented use of the voice in the context of a symphony, and established a new benchmark of expressive possibility for the genre.
32 1 Igor Stravinsky Ini “Symphony of Psalms”
IGOR FEDOROVICH STRAVINSKY was born on June 17, 1882, at Oranienbaum, Russia, on the Gulf of Finland, and died on April 6, 1971, in New York. The “Symphony of Psalms” was one of the works commissioned to celebrate the fiftieth anniversary of the Boston Symphony Orchestra. Stravinsky composed it at Nice and Charavines between January and August 15, 1930. The score bears the dedication (in French): “This symphony composed to the glory of GOD is dedicated to the Boston Symphony Orchestra on the occasion of its fiftieth anniversary.” Serge Koussevitzky was to have conducted the world premiere with the BSO in December 1930, with a European pre¬ miere following a few days later in Brussels under the direction of Ernest Ansermet, but Kousse¬ vitzky fell ill, and the Boston performance was postponed. As a result, the first performance was given by the chorus and orchestra of the Brussels Philharmonic Society under Ansermet on December 13, 1930, the BSO’s American premiere performances under Koussevitzky following a week later on December 19 and 20, with the Cecilia Society Chorus, Arthur Fiedler, conductor.
THE SCORE OF THE “SYMPHONY OF PSALMS” calls for four-part chorus (Stravinsky pre¬ ferred, but did not insist on, children’s voices for the soprano and alto parts) and an orchestra of five flutes (fifth doubling piccolo), four oboes and English horn, three bassoons and contrabas- soon, four horns, one small trumpet in D and four trumpets in C, three trombones, tuba, timpani, bass drum, harp, two pianos, cellos, and double basses. The pianists at these performances are Vytas Baksys and Deborah DeWolf Emery.
The Boston Symphony introduced new works before 1930, but it rarely—if ever- commissioned them. Even before the turn of the century the orchestra gave the world premieres of many American works, mostly by Boston composers, and, of course, American premieres of the newest compositions from Europe. Serge Koussevitzky's decision to commission a group of new pieces from the leading composers of the day to celebrate the orchestra's first half-century began a tradition that continues to the present, his invitation to celebrate the orchestra's anniversary produced such works as Hindemith's Konzertmusik for strings and brass, Roussel's Third Symphony, Copland's Symphonic Ode,
WEEK 26 PROGRAM NOTES 33 FIFTIETH SEASON, NINETEEN HUNDRED THIRTY AND THIRTY-ONE
Ninth Programme
FRIDAY AFTERNOON, DECEMBER 19, at 2.30 o’clock
SATURDAY EVENING, DECEMBER 20, at 8.15 o’clock
Mozart Symphony in G minor (Koechel No. 550') I. Allegro molto. II. Andante. III. Menuetto; Trio. IV. Finale: Allegro assai.
Stravinsky . . “Symphonie de Psaumes,” for Orchestra with Chorus I. Psalm XXXVIII (Verses 13 and 14). II. Psalm XXXIX (Verses 2, 3 and 4). III. Psalm CL (Entire). (Played without pause) (First performance in America; Composed for the Fiftieth Anniversary of the Boston Symphony Orchestra)
Stravinsky “Symphonie de Psaumes” (repeated)
Stravinsky ..... Capriccio for Piano and Orchestra I. Presto. II. Andante rapsodico. III. Allegro capriccioso, ma tempo giusto. (Played without pause) Piano Solo: JesDs MarIa Sanroma (First Time in America)
Bach ..... Prelude and Fugue in E-flat for Organ (Arranged for Orchestra by Schonberg)
CECILIA SOCIETY CHORUS (Arthur Fiedler, Conductor)
STEINWAY PIANOS
There will be an intermission after Stravinsky’s “Symphonie de Psaumes”
A fiftieth anniversary exhibition is now on view in the Huntington Avenue foyer (first balcony)
581
Program page for the first Boston Symphony Orchestra performances of Stravinsky's "Symphony of Psalms"—the American premiere—on December 19 and 20, 1930, with Serge Koussevitzky conducting (BSO Archives)
34 Hanson's Second Symphony, and the work regarded by many as one of Stravinsky's greatest, the Symphony of Psalms.
Koussevitzky gave Stravinsky carte blanche in determining the form and character of his work. The composer was not interested in a traditional 19th-century symphony; he wanted rather to create a unique form that did not rely on custom but that would nonetheless be a unified whole. He had had a "psalm symphony" in mind for some time and decided to develop this notion for the commission. His publisher, meanwhile, had expressed the hope that the new work would be something "popular." As Stravinsky recalled:
I took the word, not in the publisher's meaning of "adapting to the understanding of the people," but in the sense of "something universally admired," and I even chose Psalm 150 in part for its popularity, though another and equally compelling reason was my eagerness to counter the many composers who had abused these magisterial verses as pegs for their own lyrico-sentimental "feelings." The Psalms are poems of exaltation, but also of anger and judgment, and even of curses. Although I regarded Psalm 150 as a song to be danced, as David danced before the Ark, I knew that I would have to treat it in an imperative way.
The passages that Stravinsky selected are the closing verses of Psalm 38, the opening verses of Psalm 39, and the whole of Psalm 150 in the Latin text of the Vulgate. (To avoid confusion, it is worth noting that, owing to different textual traditions, the Vulgate num¬ bers almost all of the Psalms differently from the King James Version and all later trans-
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lations used in the Protestant and Jewish traditions; in those translations, the texts of the first two movements come from Psalms 39 and 40, respectively. Psalm 150 has the same numbering in both systems.)
Stravinsky began by composing the fast sections of the last movement. Indeed, the repeat¬ ed eighth-note figure heard on the words "Laudate Dominum" was the very first musical idea that suggested itself. This, followed by a breathtaking rapid triplet passage, is strik¬ ingly reminiscent of Jocasta's words “Oracula, oracula" in Oedipus Rex; the reminiscence of the earlier score suggests that in some ways the Symphony of Psalms fulfills the Christian implications of that humanistic opera based on a classical Greek drama.
After finishing that fast music, Stravinsky started at the beginning of the work. He took a motive from what he had already composed of the last movement—a pair of interlocked thirds—and derived from it the root musical idea of the whole score. The first movement, a cry of "Hear my prayer, 0 Lord," was composed "in a state of religious and musical ebullience." The opening chord is one of those Stravinskian sonorities that is so unusual and so striking that it is possible to recognize the work at once from that single sound. It is a simple E minor triad, but contrary to all of the normal prescriptions of musical scor¬ ing, the note that is most frequently sounded is G, the third degree of the scale, which appears in four octaves on many instruments. The orchestral introduction contains long- flowing lines (which prefigure the voice parts) and running sixteenth-note passages. When the chorus enters, the rhythmic background slows to a steady eighth-note pattern presenting explicitly the interlocked thirds that make up the root motive, over which the voices utter their plea, emphasizing the expressive semitone E-F; this has reminded many listeners of the Phrygian mode of plainchant, though Stravinsky disavowed any intention of recalling traditional church music. Nonetheless, the semitone rising and then falling again is an age-old emblem of lamentation and perfectly expresses the plea Hear my prayer." Each of these elements functions as a self-contained block, often punctuated
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; , ,^<-4p i a?fiicfiteACO Title page of Stravinsky's "Symphony of Psalms, with its dedication "to the Boston Symphony Orchestra on the occasion of the cinquentennial of its existence" by a repetition of that opening chord, with its curious emphasis on G. Finally, as if in answer to this insistence, a climactic passage builds up with long choral phrases and increasing dynamic energy in the orchestral part to conclude on a massive G major triad, the extended musical goal of the movement and a climax of powerful effect. That G major chord provides the harmonic link to the second movement as well, func¬ tioning as the dominant of C minor. Following the increasingly intense prayer of the opening, the second movement represents the believer waiting for the Lord's response. Stravinsky called the movement "an upside-down pyramid of fugues." There is one fugue for the instruments stated at the outset by flutes and oboes, another for the chorus. Both are fully and elaborately developed with strettos and combined statements. The basic motive of the symphony here takes the form C-E-flat-B-D, with the third note at the higher octave, giving a new, yearning shape to the subject of the instrumental fugue. The choral fugue enters in E-flat minor with the lower instruments providing the accompaniment by way of their first crack at the instrumental fugue. A climactic choral passage in octaves ("He has put in my mouth a new song”) is accompanied by strettos of the instrumental fugue in sharply dotted rhythms and leads to the movement's con¬ clusion in E-flat. 38 After the plea for aid and the testimony that God has put a new song into the singer's mouth, the last movement presents this new song. Stravinsky noted that, although he had begun working on the Symphony of Psalms with the fast music of the last movement, he could not compose the slow introductory section before writing the second move¬ ment because that introduction—"Alleluia"—is the answer to the prayer. The rest of the slow introduction was originally composed to the Slavonic words "Gospodi pomiluy,” cast as a prayer to the Russian image of the infant Christ with orb and sceptre. It is extraordi¬ narily elevated, stately music, with the voices and instruments suggesting the somber joyfulness of church bells ringing for a slow procession. The fast section—with its rush¬ ing triplets in brass and piano—Stravinsky admitted was inspired by a vision of Elijah's fiery chariot climbing the heavens. At the end of all this energetic jubilation, the slower opening material comes back for a wonderfully intense quiet conclusion. The long phras¬ es of the chorus carefully and repeatedly filling in the interval from E-flat down a minor third to C suggest that the conclusion will be in C minor. But as one last time the "new song"—"Alleluia"—is breathed out by the chorus, the orchestra calmly brings matters to a bright close by inserting E-natural—which produces the major mode—over the closing tonic C, a conclusion of overwhelming serenity in a timeless mood. Steven Ledbetter STEVEN LEDBETTER was program annotator of the Boston Symphony Orchestra from 7979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country. THE FIRST AMERICAN PERFORMANCES OF THE "SYMPHONY OF PSALMS" were given (as detailed on page 33) by Serge Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society, Arthur Fiedler, conductor, on December 19 and 20, 1930. Koussevitzky believed in the work, repeating it two months later, on February 20 and 21, 1931, and then in New York on March 5 and 7, 1931, following these with further performances in April of 1932, 1936, 1939, and 1942 (all with the Cecilia Society Chorus), and in March 1947 (in Boston and New York, with the Harvard Glee Club and Radcliffe Choral Society). Between 1947 and January 1972, BSO performanc¬ es were given by Robert Shaw (with the Festival Chorus in 1947 at Tanglewood; and with the Chorus Pro Musica in Boston and New York in January 1959), Leonard Bernstein (with the Festival Chorus), Erich Leinsdorf (Chorus Pro Musica), and Michael Tilson Thomas (with the New England Conserva¬ tory Chorus in January 1972). Since then, all BSO performances of the "Symphony of Psalms" have featured the Tanglewood Festival Chorus, the conductors being Tilson Thomas (at Tanglewood in August 1973), Colin Davis, Seiji Ozawa, Robert Shaw, Andrew Davis, Bernard Haitink (a Tanglewood performance in August 2001, followed by European tour performances in London, Edinburgh, Lubeck, and Lucerne), and James Levine (three subscription performances in December 2005). The most recent subscription performances were on September 26 and 29, 2009, with James Levine leading the first of the two and BSO assistant conductor Shi-Yeon Sung the second. More recently, Michael Tilson Thomas led a Tanglewood performance on July 16, 2010-the BSO's most recent performance of "Symphony of Psalms." WEEK 26 PROGRAM NOTES 39 "There is no WAY but Steinway" Lang Lang DESIGNED BY STEINWAY & SONS nether vou are a beginner or an 'experienced concert pianist M. Steinert 6 ins Imp a piano M. Steinert & Sons or you eel ion ranges inest Pianos in Neic hmyanJ for / ?() Years mm ^leinwav ie world piano iron ex and Noland pianos. L ome discover (800) 044-2498 M. Steinert £f Sons ms remained msteinert.com vital and vibrant part ol Bostr communily lor six generation STRAVINSKY “Symphony of Psalms” i. Exaudi orationem meam, Domine, Hear my prayer, O Lord, and my et deprecationem meam; auribus supplication: give ear to my tears. percipe lacrymas meas. Ne sileas, quoniam advena ego sum Be not silent: for I am a stranger apud te, et peregrinus sicut omnes with thee, and a sojourner as all my patres mei. fathers were. Remitte mihi, ut refrigerer priusquam O forgive me, that I may be refreshed, abeam et amplius non ero. before I go hence, and be no more. Psalm 38:13,14 II. Exspectans, exspectavi Dominum, et With expectation I have waited for intendit mihi. the Lord, and he was attentive to me. Et exaudivit preces meas, et eduxit me And he heard my prayers, and brought de lacu miseriae et de luto faecis. me out of the pit of misery and the mire of dregs. Et statuit super petram pedes meos, et And he set my feet upon a rock, and direxit gressus meos. directed my steps. Et immisit in os meum canticum And he put a new canticle into my novum, carmen Deo nostro. mouth, a song to our God. Videbunt multi, et timebunt, et Many shall see, and shall fear: and they sperabunt in Domino. shall hope in the Lord. Psalm 39: 2, 3, 4 III. Alleluia. Alleluia. Laudate Dominum in sanctis ejus; Praise ye the Lord in his holy places; laudate eum in firmamento virtutis praise ye him in the firmament of ejus. his power. Laudate eum in virtutibus ejus; Praise ye him for his mighty acts; laudate eum secundum multitudinem praise ye him according to the multi¬ magnitudinis ejus. tude of his greatness. Laudate eum in sono tubae; Praise him with sound of trumpet: [laudate eum in psalterio et cithara.]* [praise him with psaltery and harp.] Laudate eum in tympano et choro; Praise him with timbrel and choir: laudate eum in chordis et organo. praise him with strings and organs. Laudate eum in cymbalis benesonantibus; Praise him on high sounding cymbals: laudate eum in cymbalis jubilationis. praise him on cymbals of joy: Omnis spiritus laudet Dominum! let every spirit praise the Lord. Alleluia. Alleluia. Psalm 150 ‘Stravinsky omits the line in brackets. WEEK 26 TEXT AND TRANSLATION 41 Each musician reads from the same score, but each brings his or her own artistry to the performance. It's their passion that creates much of what we love about music. And it's what inspires all we do at Bose. That's why we're proud to support the performers you're listening to today. We invite you to experience what our passion brings to the performance of our products. Please call or visit our website to learn more - including how you can hear Bose® sound for yourself. Better sound through research ® Ludwig van Beethoven Symphony No. g in D minor, Opus 125 LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. Though some of the ideas eventually used in the Ninth Symphony appear in sketches of 1817-18, Beethoven only began concentrated work on the score in 1822. It then occupied him throughout 1823, and he completed it in February 1824. The first performance took place in the Kartnerthor Theater in Vienna on May 7, 1824, the symphony being preceded on that program by the “Consecration of the House” Overture and the first hearing in Vienna of the Kyrie, Credo, and Agnus Dei of the “Missa Solemnis.” The deaf composer stood on stage beating time, but the real conducting was done by Michael Umlauf; the vocal soloists were Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt. The score is dedicated to King Frederick William III of Prussia. THE SCORE OF BEETHOVEN’S NINTH SYMPHONY calls for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, tim¬ pani, triangle, cymbals, bass drum, and strings, plus soprano, alto, tenor, and bass soloists, and four-part mixed chorus. Beethoven's Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprece¬ dented introduction of voices into a symphony, singing Schiller's "Ode to Joy"; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the "Heiligenstadt Testament": "For so long now the heartfelt echo of true joy has been a stranger to me!" Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian WEEK 26 PROGRAM NOTES 43 1 ’ Li / vUi ( I mL ' pif Charlie Curtis Knowing wealth Adrienne Silbermann, CFA Portfolio Manager Portfolio Manage! Knowing you. The more you get to know us, the more you’ll know why the bond we have with our clients is so long-lasting. It’s because we create deep and trusting relationships with each client. 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The poem, written in 1785 and embodying the revolutionary fer¬ vor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller's utopian verses were the young Beethoven's music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketching ideas; now he decided to make Schiller's fire-drunk hymn to friendship, marriage, freedom, and univer¬ sal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the "Joy" theme, so in the finale it would be unveiled like a reve¬ lation. The dramatic progress of the Ninth is usually described as "darkness to light." Scholar Maynard Solomon refines that idea into "an extended metaphor of a quest for Elysium." But it's a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme makes its big return) appears not in the original D minor but in a strange D major that erupts out of calm like a scream, sounding not triumphant but somehow frightening. As coda there's a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one of them the second movement of the Eroico Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beethoven's most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you'd whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven's late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfolding in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the "Joy" theme. But WEEK 26 PROGRAM NOTES 45 Boston Music Hall. SEASON- 1891-82. BOSTON SYMPHONY ORCHESTRA, MR. GEORG HENSCHEL, Conductor. XX. C0NCERT. (The last of the First Season.) Saturday, March hth, at 8, P. M. PROGRAMME. PRELUDE from the music,to “(Edipus Tyramms.” . . PAINE. (Conducted by the Composer.) TRIO FOR SOPRANO, TENOR AND BASS. from Psalm CXXX., op. 81. . . . HENSCHEL. “ If Thou, Lord, ahouldst unmlter transgression*, who shall abide It ? Hut with Tliee is forgiveness, that, we max fear Tliee.”— WEDDING MARCH, from the music to Shakespeare’s Midsummernijfht’s Dream, op. 61. . MENDELSSOHN. THE NINTH (CHORAL) SYMPHONY. . . BEETHOVEN. In D-minor, op. 125. SOLOISTS: Mrs. HUMPHREY-ALLEN, Soprano, Miss MARY H. HOW, Contralto, Mr. CHARLES R. ADAMS, Tenor, Mr. V. CIRILLO, Bass. Program page for the first Boston Symphony Orchestra performance of Beethoven's Ninth Symphony, during the BSO's inaugural season on March 77, 78 82, under the direction of Georg Henschel (BSO Archives) 46 ) Title page from the first edition of Beethoven's Ninth Symphony why does this celebration of joy open with a dissonant shriek that Richard Wagner called the "terror fanfare," shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollec¬ tions of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaim¬ ing words to that effect, but he decided to leave the ideas suggested rather than spelled out.) This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompaniments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: "Oh friends, not these sounds! Rather let's strike up something more agreeable and joyful." Soon the chorus is crying "Freude!”—"Joy!"—and the piece is off, exalting joy as the god- engendered daughter of Elysium, under whose influence love could flourish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching military march heroic in context ("Joyfully, like a hero toward victory") but light unto satiric in tone, in a style the Viennese called "Turkish." That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant ("Be embraced, you millions! Here's a kiss for all the world!"). In a spine-tingling interlude we are exhorted to fall on our knees and contemplate the Godhead ("Seek him beyond the stars"), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale's episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest WEEK 26 PROGRAM NOTES 47 At Brookhaven, lifecare living is as good as it looks. Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community. Call today for a tour! 781.863.9660 * 800.283.1114 www.brookhavenatlexington.org BROOKHAVEN AT LEXINGTON EQUAL HOUSING A Full-Service Lifecare Retirement Community OPPORTUNITY Boston Youth Symphony ORCHESTRAS FEDERICO CORTESE MUSIC DIRECTOR Thursday, May 10,2012 * Meet, Eat, Drink, Connect LITTLE Experience the Future of Classical Music NIGHT 6:30 pm - 9:30 pm Mandarin Oriental, Boston Tickets: $150 MUSIC* Proceeds to benefit financial aid awards to our students Visit www.bysocelebrates.org Babson Cj Capital MasterCard •uMietnuc Worldwide 48 The Kdrntnerthor Theater in Vienna, where Beethoven's Ninth Symphony was premiered for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signi¬ fying that the world he's embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path? In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves. One is seeing the Ninth in light of its sister work, the Misso Solemnis. At the end of Beethoven's Mass the chorus is declaiming "Dona nobis pacem," the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven's answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written "Finished with the help of God,'' Beethoven wrote under it: "Man, help yourself!" In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller's exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an unprecedent¬ ed way for a composer, he stepped into history with a great ceremonial work that doesn't simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Later the Joy theme became the anthem of the European Union, a symbol of nations joining together. If you're looking for the univer¬ sal, here it is. WEEK 26 PROGRAM NOTES 49 One final perspective. The symphony emerges from a whispering mist to fateful procla¬ mations. The finale's Joy theme, prefigured in bits and pieces from the beginning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? "Be embraced, you millions! This kiss for all the world!'' run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and terror and simplicity and complexity, is itself Beethoven's embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It's the composer talking to everybody, to history. There's something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends. Jan Swafford JAN SWAFFORD is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and "The Vintage Guide to Classical Music." An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at The Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin. THE FIRST AMERICAN PERFORMANCE OF BEETHOVEN'S NINTH SYMPHONY was given by the New York Philharmonic on May 20, 1846; George Loder conducted, with soloists Mme. Otto, Mrs. Boulard, Mr. Munson, and Mr. Mayer. The Ninth came to Boston on February 5, 1853, when Carl Bergmann conducted it with the Germania Musical Society, the chorus of the Handel & Haydn Society, and soloists Anna Stone, Miss. S. Humphrey, J.H. Low, and Thomas Ball. THE FIRST BOSTON SYMPHONY PERFORMANCE OF BEETHOVEN’S NINTH took place on March 11, 1882, during the orchestra's inaugural season; Georg Henschel conducted, with soloists Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo. Following further performances under Henschel in March 1883 and March 1884, subsequent BSO performances were given by Wilhelm Gericke, Arthur Nikisch, Max Fiedler, Karl Muck, Pierre Monteux, Serge Koussevitzky, Charles Munch, Erich Leinsdorf, William Steinberg, Leonard Bernstein, Bernard Haitink, Eugene Ormandy, Seiji Ozawa, Klaus Tennstedt, and Colin Davis—this list covering through April 1979, but not including partial performances given by Emil Paur (Adagio and scherzo, in that order); Gericke, Paur, and Monteux (who led performances that omitted the finale); and Bernstein (who led just the finale at a special concert for the United Nations in December 1949). Between October 1981 (when the BSO’s hundredth birthday was marked by a performance on Boston Common followed by sub¬ scription performances at Symphony Hall) and the start of the 1988-89 season, Seiji Ozawa led all of the BSO's performances except one given in 1984 at Tanglewood under Stanislaw Skrowaczewski (who replaced an indisposed Edo de Waart). A Tanglewood performance under Ozawa on July 1, 1988, marked the fiftieth anniversary of the Music Shed (which was rededicated that summer as the Koussevitzky Music Shed). In 1994 Christoph Eschenbach closed the BSO's Tanglewood season with 50 the Ninth, that practice then being taken up annually between 1997 and 2005 under conductors Robert Shaw, Mstislav Rostropovich, James DePreist, Rafael Frubeck de Burgos, Zubin Mehta (who led the work with the Israel Philharmonic while the BSO was in Europe), Sir Roger Norrington, James Conlon, Hans Graf, and Marek Janowski. In July 2006, James Levine opened the BSO's Tanglewood season with Beethoven's Ninth, season-ending Tanglewood performances being conducted after that by Rafael Fruhbeck de Burgos in 2007 (with the Tanglewood Music Center Orchestra that year), Christoph von Dohnanyi in 2008, Michael Tilson Thomas in 2009, and Kurt Masur in 2010. Last summer, though Lorin Maazel led an Open Rehearsal of the Ninth on Saturday morning, August 28, 2011, the performance scheduled for the following afternoon was cancelled due to Hurricane Irene. After Seiji Ozawa's season-opening subscription performances of the Ninth in September/October 1988, the BSO's next Symphony Hall performance came ten years later, on September 23,1998, Opening Night of Seiji Ozawa’s 25th Anniversary Season as music director, but with Robert Shaw conducting in place of Ozawa, who was ill. On September 27, the BSO performance on Boston Common marking the anniversary was shared by then BSO assistant conductor Federico Cortese (leading the first and second movements) and Ozawa (leading the third and fourth movements). The orchestra's only non-Tanglewood performances since then took place in March 2006—with James Levine conducting the first performance of the Symphony Hall subscription series, BSO assis¬ tant conductor Jens Georg Bachmann then taking the remaining three, and Marek Janowski leading a Carnegie Hall performance—and on November 5, 6, and 7, 2009, with Lorin Maazel conducting the subscription performances that closed the BSO's complete Beethoven symphony cycle that fall, the soloists on that occasion being Christine Brewer, Meredith Arwady, Matthew Polenzani, and Eike Wilm Schulte. The Tanglewood Festival Chorus, John Oliver, conductor—which made its debut in a Bernstein-led Beethoven Ninth on April 11, 1970, to conclude a week-long BSO Beethoven Festival marking the Beethoven Bicentennial—has sung nearly all of the BSO’s performances since that date (the exceptions being several Haitink performances in April 1973; performances under Ozawa in March 1976; BSO Centennial Tour performances under Ozawa in November 1981 in Tokyo, Paris, and London; and a performance of the finale as part of a millennial concert in Paris at the Eiffel Tower on May 5, 2000). Other choruses to have sung Beethoven's Ninth with the BSO over the years have included (to name just a few local ones) the Cecilia Society led by Arthur Fiedler; the Harvard Glee Club and Radcliffe Choral Society led by G. Wallace Woodworth; the Festival Chorus led by Robert Shaw; Chorus pro Musica led by Alfred Nash Patterson, and the New England Conservatory Chorus led by Lorna Cooke deVaron. A Not'for-Profit Tradition of Caring Since 1899 The Cambridge Homes Independent & Assisted Living 617-876-0369 Next to Mount Auburn Hospital www.TheCambridgeHomes.org WEEK 26 PROGRAM NOTES 51 Text to the finale of Beethoven’s Ninth Symphony, based on Schiller’s ode, "To Joy” O Freunde, nicht diese Tone! 0 friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, und freudenvollere. In more pleasant and more joyful song. Beethoven Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Bruder, All men are made brothers Wo dein sanfter Flugel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer's nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brusten der Natur, At Nature's breasts. Alle Guten, alle Bosen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Kusse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, gepruft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels pracht'gen Across the glorious landscape of the Plan, heavens, Laufet, Bruder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, 0 Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Bruder, All men are made brothers Wo dein sanfter Flugel weilt. Where your gentle wings abide. 52 Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Bruder—uberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr sturzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn uberm Sternenzelt! Seek him above the canopy of the stars! Uber Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, 0 Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr sturzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn uberm Sternenzelt! Seek him above the canopy of the stars! Bruder—uberm Sternenzelt Brothers—beyond the canopy of the - stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Bruder, All men are made brothers Wo dein sanfter Flugel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Bruder—uberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schoner Gotterfunken! Joy, beauteous, godly spark! Translation copyright ©Donna Hewitt-Didham; all rights reserved. WEEK 26 TEXT AND TRANSLATION 53 Names and/or references to third parties in this print advertisement are used with permission. © UBS 2011. All rights reserved Until expectations have been met. Then exceeded. Until the hand that plays it becomes a part of the instrument itself. Until inspiration and execution are a singular process, a singular motion. Practiced. Flawless. Until we've discovered all the potential that's there to be found. Until then—even then—we continue to explore, to search. UBS is proud to be the Season Sponsor of the Boston Symphony Orchestra. Not just because we're fans, but because we share a common trait: a refusal to allow good enough to be good enough. We will not rest UBS www.ubs.com/wewillnotrest-us AMERICAN on the i _| and 7-night cruises From the high desert landscapes to the the ship 780’ over 8 locks. Local experts, endless sweep of the Pacific Ocean, the Native American performers and perfectly Columbia and Snake rivers follow an epic planned shore excursions heighten each course, flowing through a rich tapestry of experience. Join us for an unforgettable ever-changing landscapes, lush wildlife 7-night cruise along the legendary rivers habitats and a lock system which raises that helped shape the American West. Ft J >)a 1 latsop'atsop,. isiswrtastona tw . * w v v Spokane it' * 11 ^hington 5 Ramier\% A Snake ft ^ 1 » Mount St. Helens Portland C Pasco.^ Clarkston ,„.zrr iv- n v i DMe' UmatiUa ***JrffAr*AI ° o vMf# % KE gon n fT ■.Mrmv-'A VI Reservations office open 7 days a week AMERICAN Toll-free 1 -866-229-3807 CRUISE LINES U.S. East Coast Waterways & Rivers • Mississippi River U.S. Northwest Rivers • Alaska Inside Passage To Read and Hear More The Stravinsky article in the 2001 New Grove Dictionary of Music and Musicians is by Stephen Walsh, who is also the author of an important two-volume Stravinsky biography: Strovinsky-A Creative Spring: Russia and France, 1882-1934 and Stravinsky-The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of California). White's 1980 Grove article was reprinted in The New Grove Modern Masters: Bartok, Hindemith, Stravinsky (Norton paperback). Other useful books include The Cambridge Companion to Stravinsky, edited by Jonathan Cross, which includes a variety of essays on the composer's life and works (Cambridge University Press), Michael Oliver's Igor Stravinsky in the wonderfully illustrated series "20th-Century Composers" (Phaidon paperback), Neil Wenborn's Stravinsky in the series "Illustrated Lives of the Great Composers" (Omnibus Press), Stephen Walsh's The Music of Stravinsky (Oxford paperback), and Francis Routh's Stravinsky in the "Master Musicians" series (Littlefield paperback). Charles M. Joseph's Stravinsky Inside Out challenges some of the popular myths surround¬ ing the composer (Yale University Press). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer's life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Noteworthy among the many specialist publications are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), and Richard Taruskin's two-volume, 1700- page Stravinsky and the Russian Traditions: A Biography of the Works through "Mavra," which treats Stravinsky's career through the early 1920s (University of California). Stravinsky's own 1963 recording of the Symphony of Psalms with the CBC Vancouver Symphony Orchestra and Toronto Festival Singers has been reissued on compact disc (Sony Classical). A 1987 Boston Symphony broadcast with the Tanglewood Festival Chorus and Seiji Ozawa conducting is included in the BSO's twelve-disc set "Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000" (available at the Symphony Shop or as a download at BSO.org). Other recordings include Pierre Boulez's with the Berlin Philharmonic (Deutsche Grammophon), Robert Shaw's with the Atlanta Symphony Orchestra and Chorus (Telarc), Simon Rattle's with the Berlin Philharmonic (EMI), Philippe Herreweghe's with the Royal Flemish Philharmonic and Ghent Collegium WEEK 26 READ AND HEAR MORE 57 Vocale (Pentatone), and Michael Tilson Thomas's with the London Symphony Orchestra and Chorus (Sony Classical). Edmund Morris's Beethoven: The Universal Composer is a thoughtful, first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series "Eminent Lives''). The important full-scale modern biographies, both titled simply Beethoven, are by Maynard Solomon (Schirmer paperback) and Barry Cooper (Oxford University Press, in the series "Master Musicians"). Also noteworthy are Jan Swafford's chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback); David Wyn Jones's The life of Beethoven, in the "Musical lives" series of compact composer biog¬ raphies (Cambridge paperback); Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood (Norton paperback); The Beethoven Compendium: A Guide to Beethoven's Life and Music, edited by Barry Cooper (Thames & Hudson paper¬ back), and Peter Clive's Beethoven and his World: A Biographical Dictionary, which includes entries on just about anyone you can think of who figured in the composer's life (Oxford). LONGY’S COM MUM THE LEGACY jgk PROGRAMS DI\AlSft DVD SERIES ANNOUNCES 1 * FROM ICA CLASSICS features the Boston Symphony 2012 Fall Semeste] Orchestra under some of their great music directors and guest Ensemble Auditidi conductors - Charles Munch, Erich Leinsdorf, William Steinberg Students Ages 5—18 and Klaus Tennstedt. May 31—June 3, 2012 AVAILABLE FOR THE FIRST TIME ON DVD Pre-College Academy Young Performers Program Orchestra Chorus Camerata A Cappella Chamber Music Small Ensembles To register, visit us at www.longy.edu E-mail: [email protected] www.longy.edu 27 Garden St. Cambridge (Harvard Sq.) 617.876.0956 Longy Buy now from www.icaclassics.com School of Music www.amazon.comwww.bso.org/shop 58 Dating from the nineteenth century, but still crucial, is Thayer's Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). The New Grove Beethoven provides a convenient paperback reprint of the Beethoven article by Alan Tyson and Joseph Kerman from the 1980 Grove Dictionary (Norton paperback). Kerman and Tyson were also among the contributors to the revised Beethoven article in the 2001 Grove. Michael Steinberg's program notes on all nine Beethoven symphonies are in his compilation vol¬ ume The Symphony-A Listener's Guide (Oxford paperback). Donald Francis Tovey's notes on the symphonies are among his Essays in Musical Analysis (Oxford). Also worth investi¬ gating are George Grove's classic Beethoven and his Nine Symphonies, now more than a century old (Dover paperback); J.W.N. Sullivan's Beethoven: His Spiritual Development, published in 1927, but still fascinating and thought-provoking (Vintage paperback); Martin Cooper's Beethoven: The Last Decade, 1817-1827 (Oxford paperback); Maynard Solomon's Late Beethoven: Music, Thought, Imagination, a wide-ranging collection of essays that affords a close and multi-layered look at elements of the composer's late style (University of California paperback); Robert Simpson's Beethoven Symphonies in the series of BBC Music Guides (University of Washington paperback), and Richard Osborne's chapter on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). The Boston Symphony Orchestra recorded the complete cycle of Beethoven symphonies with Erich Leinsdorf between 1962 and 1969; the recording of the Ninth is from 1969 (RCA). In addition, a televised BSO performance under Leinsdorf from 1965 has been issued on DVD (VAI), and there were earlier BSO recordings of the Ninth led by Charles Munch in 1958 (RCA; also included by EMI/ICA Classics in the Charles Munch volume of the CD series "Great Conductors of the 20th Century”) and Serge Koussevitzky in 1947 (recorded at Tanglewood by RCA). Bernard Haitink leads the complete Beethoven symphonies in recordings drawn from live performances with the London Symphony Orchestra (LSO Live). Other noteworthy cycles of varying vintage include (listed alpha¬ betically by conductor) Claudio Abbado's with the Berlin Philharmonic (Deutsche Gram- mophon), John Eliot Gardiner's with the period-instrument Orchestre Revolutionaire et Romantique (Deutsche Grammophon Archiv), Nikolaus Harnoncourt's with the Chamber Orchestra of Europe (Teldec), Herbert von Karajan's with the Berlin Philharmonic (Deutsche Grammophon, preferably their cycle issued originally in 1963), Sir Charles Mackerras's with the Scottish Chamber Orchestra and—in the Ninth—the Philharmonia Orchestra (Hyperion), and Osmo Vanska's with the Minnesota Orchestra (BIS). Historic recordings include studio and live renditions of the nine symphonies under the direction of Wilhelm Furtwangler (mainly with the Berlin Philharmonic and Vienna Philharmonic, though there's also a famous 1951 Beethoven Ninth with the Bayreuth Festival Orchestra and Chorus from the post-war reopening of that festival) and Arturo Toscanini (mainly with the NBC Symphony, including a notably powerful performance of the Ninth from his famous 1939 Beethoven cycle with that orchestra, issued on CD by Music & Arts, and a 1948 NBC Symphony telecast released on DVD by Testament). Marc Mandel WEEK 26 READ AND HEAR MORE 59 ttaua» Mahler’s No. 4 or Mozart’s No. 40? At The Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops. For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com Guest Artists Bernard Haitink With an international conducting career that has spanned more than five-and-a-half decades, Amsterdam-born Bernard Haitink is one of today's most celebrated conductors. Mr. Haitink was for twenty-seven years Chief Conductor of the Royal Concertgebouw Orchestra; he is now that orchestra's Conductor Laureate. In addition, he has previously held posts as music director of the Royal Opera-Covent Garden, Glyndebourne Festival Opera, and Dresden Staatskapelle, and as principal conductor of the Chicago Symphony Orchestra and the London Philharmonic. Mr. Haitink was appointed Principal Guest Conductor of the Boston Symphony in 1995 and since 2004 has been the LaCroix Family Fund Conductor Emeritus of the BSO. He has made frequent guest appearances with most of the world's leading orchestras. During the 2011-12 season in America, he leads the Chicago Symphony Orchestra, returns to the New York Philharmonic for the first time in over thirty years, and leads three weeks of subscription programs to close the Boston Symphony's 2011-12 season. In February 2012 he concluded a Beethoven cycle with the Chamber Orchestra of Europe in the Amsterdam Concertgebouw and the Salle Pleyel in Paris. Other highlights of the current season in Europe include the Christmas Day concert with the Royal Concertgebouw Orchestra and engagements with the Bavarian Radio Orchestra, Tonhalle Orchester Zurich, and London Symphony Orchestra. Mr. Haitink has recorded widely for the Philips, Decca, and EMI labels, with the Concertgebouw, the Berlin Philharmonic, the Vienna Philharmonic, and the Boston Symphony Orchestra. His discography also includes many opera recordings with the Royal Opera and Glyndebourne, as well as with the Bavarian Radio Orchestra and Dresden Staatskapelle. His recording of Janacek's Jenufa with the orchestra, soloists, and chorus of the Royal Opera House-Covent WEEK 26 GUEST ARTISTS 6l Calderwood Hall, photo by Lisa Abitbol, 2012; Benjamin Beilman, photo by Christian Steiner Mozart, Strauss,Prokofiev,Hubay WINNER, 2010YOUNGCONCERTARTISTS YOUNG ARTISTSSHOWCASE-FIRSTPRIZE Yekwon Sunwoo,piano Benjamin Beilman,violin Sunday ConcertSeries MAY 6 Tickets $12-27(priceincludes Museumadmission) INTERNATIONAL AUDITIONS SUNDAYS AT1:30PM Massachusetts CulturalCouncil.Promotional supportprovided byWGBH. Complete scheduleand FREEliverecordingsatgardnermuseum.org/music gardnermuseum.org/calendar/sundayconcerts, 6172785156,orat thedoor The Gardner Museumreceivesoperating supportfromthe Rolla, Schumann MEMORIAL CONCERT GERTRUDE BROWNLEEBITNER Licad PlaysLisztandChopin,PartII MAY 20 MAY 13 Cecile Licad,piano Chamber MusicSocietyOfLincolnCenter s "ewartGardner, THE GARDNER MUSIC AT ISABELLA museum designed by in thenewwing Calderwood Hall in theinnovative Inaugural season Renzo Piano. Garden, received a Grammy Award for best opera recording in 2004. With the Boston Sym¬ phony Orchestra he has recorded Brahms's four symphonies and Alto Rhapsody, orchestral works of Ravel, and Brahms's Piano Concerto No. 2 with soloist Emanuel Ax. His most recent recordings are the complete Brahms and Beethoven symphonies with the London Symphony Orchestra on the LSO Live label. His recording of Shostakovich's Symphony No. 4 with the Chicago Symphony on its Resound label was awarded a Grammy for Best Orchestral Perform¬ ance of 2008. Mr. Haitink has received many international awards in recognition of his services to music, including both an honorary Knighthood and the Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. He was named Musical America's "Musician of the Year" for 2007. Prior to this season, Bernard Haitink appeared with the BSO most recently for the last two weeks of the 2009-10 subscription season, leading music of Strauss, Mendelssohn, Beethoven, and Bartok. In addition to concerts at Symphony Hall, he has led the orchestra at Tanglewood (where he appeared for the first time in 1994 and most recently in 2008), at Carnegie Hall, and on a 2001 tour of European summer music festivals. Jessica Rivera Jessica Rivera enjoys unique artistic collaborations with many of today's most celebrated composers, including John Adams, Osvaldo Golijov, and Nico Muhly; she has performed with such esteemed conductors as Bernard Haitink, Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, and Michael Tilson Thomas. Ms. Rivera earned acclaim as Kumudha in the world pre¬ miere of John Adams's A Flowering Tree, subsequently performing that work with the Berlin Philharmonic under Sir Simon Rattle and, with the composer conducting, Cincinnati Opera, the San Francisco Symphony, Los Angeles Philharmonic, the Orchestra of St. Luke's at Lincoln Center, and the London Symphony Orchestra at the Barbican Centre, as well as on the None¬ such recording. She made her European operatic debut as Kitty Oppenheimer in Adams's Doctor Atomic with Netherlands Opera, a role that also served for her Lyric Opera of Chicago debut. She also performed the role in the Metropolitan Opera's production of Doctor Atomic under Alan Gilbert, gave concert performances with Robert Spano and the Atlanta Symphony, and appears on the BBC/Opus Arte DVD. The 2011-12 season brings debuts with Finnish WEEK 26 GUEST ARTISTS 63 National Opera as Kitty Oppenheimer and with Madrid's Teatro Real as Margarita Xirgu in Golijov's Ainodamor. She returns to the Atlanta Symphony for concert performances of A Flowering Tree, to Colombia's Cartagena Festival for Golijov's Lo Pasion segun San Marcos, and to the Boston Symphony for Beethoven's Symphony No. 9, which she also sings with the Houston Symphony, and with the Chamber Orchestra of Europe at the Amsterdam Concertge- bouw and in Paris's Salle Pleyel. Other season highlights include the world premiere of a new work by Gabriela Lena Frank with the Berkeley Symphony, Mahler's Symphony No. 2 with the Kansas City Symphony, and a solo recital presented by San Francisco Performances. Highlights of 2010-11 included Adams's El Nino with the San Francisco Symphony under the composer's baton and at the Edinburgh International Festival with James Conlon and the BBC Scottish Symphony Orchestra, Golijov's She Was Here with Roberto Minczuk and the Brazilian Symphony Orchestra, Britten's Spring Symphony with Robert Spano and the Atlanta Symphony, Mahler's Second Symphony with Gustavo Dudamel and the Simon Bolivar Youth Orchestra, Mahler's Fourth Symphony with Franz Welser-Most for her Cleveland Orchestra debut, and Gorecki's Symphony No. 3 with Dudamel and the Los Angeles Philharmonic. She covered the role of Pat Nixon for the Metropolitan Opera premiere of Nixon in China, and joined Beninoise singer- songwriter Angelique Kidjo for the world premiere of Jonathan Leshnoff's Hope: An Oratorio at the Kimmel Center in Philadelphia. Carnegie Hall and Cal Performances Berkeley co¬ commissioned a work for Jessica Rivera written by Mark Grey to a libretto by Niloufar Talebi; Atash Sorushan (Fire Angels') received its premiere during recital presentations at Zankel Hall and Hertz Hall in collaboration with pianist Molly Morkoski and the MEME Chamber Ensemble Jessica Rivera is now in her second year of the Artist Residency Program with San Francisco Performances, where she conducts workshops for young people throughout the Bay Area. Ms. Rivera made her Boston Symphony debut in December 2006, in performances of John Adams's El Nino under the direction of David Robertson. She appeared this past March in music of Gubaidulina and Stravinsky with the Boston Symphony Chamber Players. ‘Boston £arly jHusic festival UPCOMING CONCERTS The Flanders Recorder Quartet RECLAIMING BACH FOR THE RECORDER Hear brilliant masterpieces in a new light, in performances full of charm, electrifying technique, and boundless enthusiasm. Friday, April 27,2012 at 8pm | Sanders Theatre, Cambridge 64 I Meredith Arwady During the 2011-12 season, contralto Meredith Arwady made two role debuts at Oper Frankfurt: as Erda in a new production of Siegfried and as the First Norn in Gotterdammerung. This spring she returns to Frankfurt for a second Ring cycle. On the concert stage, she gives a recital at the Curtis Institute and joins the Boston Symphony for Beethoven's Ninth Symphony under Bernard Haitink. Summer 2012 brings Mahler's Eighth Symphony at the Aspen Music Festival. Ms. Arwady's 2010-11 opera season included Auntie in Houston Grand Opera's new produc¬ tion of Peter Grimes; Canadian Opera Company's Brooklyn Academy of Music tour, with roles in Stravinsky's Nightingale and Berceuses du Chat; Mussorgsky's Boris Godunov at Dallas Opera, Cornelia in Giuiio Cesare at the Fort Worth Opera Festival, and the title role of Vivaldi's Griselda in a new Peter Sellars production at Santa Fe Opera. In concert she performed Beethoven's Ninth Symphony with Edo de Waart and the Milwaukee Symphony and Handel's Messiah at the University of Michigan. Highlights of previous seasons include appearances with San Francisco Opera as the Abbess in Suor Angelica, Zita in Gianni Schicchi, and the Marquise of Berkenfield in La Fille du regiment, a role she also performed at the Metropolitan Opera; her role debut as Erda in Das Rheingold at Oper Frankfurt, Messiah with the National Symphony, her Metropolitan Opera and English National Opera debuts as Pasqualita in John Adams's Doctor Atomic, her Houston Grand Opera debut in the world premiere of Andre Previn's Brief Encounter, Tippett's A Child of Our Time as part of Jessye Norman's Honor! Festival at Carnegie Hall, her Santa Fe Opera debut as Gaea in Strauss's Daphne, and New York and Chicago recitals sponsored by the Marilyn Horne Foundation. As a member of San Francisco Opera's prestigious Merola Opera Program, she performed Meg Page in The Merry Wives of Windsor, returning there as Madame Flora in The Medium. A Grand Finals winner of the 2004 Metro¬ politan Opera National Council Auditions, Ms. Arwady joined the roster of Astral Artists upon winning its 2002 National Auditions; Astral presented her Philadelphia recital. Other awards and grants include the 2005 Kirsten Flagstad Award, presented by the George London Foundation for a singer with a promising Wagnerian career; first prize in the 2004 Licia Albanese/Puccini Competition, the inaugural Marian Anderson Prize for Emerging Classical Artists in 2002, and a 2007 Richard Tucker Career Grant. As a member of Lyric Opera of Chicago's Opera Center ensemble, she made her mainstage debut with Lyric Opera of Chicago in 2005, as Tisbe in La Cenerentola, the Third Lady in Die Zauberflote, and She-Ancient in WEEK 26 GUEST ARTISTS TkeGrSves IN L I N C () I. N (781) 259-0800 vwwv.Grovesinlincoln.org One Harvest Circle • Lincoln, MA 01773 iff universe. „ At the Charles Hayden Planetarium; you can fly . through the solar system, Milky Way, and beyond as you explore cosmic mysteries in the new interactive show,, Explore the Universe: Live! Info at mos.org/planetarium Museum of Science © Michael Malyszko 2011 66 Sir Michael Tippett's A Midsummer Marriage. Born in Michigan, Meredith Arwady received a master of music degree from the Curtis Institute of Music, where she studied voice with Marlena Kleinman Malas. Curtis Opera Theatre featured her as the Mother in The Consul, Zita in Gianni Schicchi, Ottavia in L'incoronazione di Poppea, the Baroness in Vanessa, Baba the Turk in The Rake's Progress, and Maman in L'Enfant et les sortileges. Ms. Arwady made her Boston Symphony Orchestra debut in November 2009, in the performances of Beethoven's Ninth Symphony led by Lorin Maazel that concluded the BSO's complete Beethoven symphony cycle that fall. Tenor Roberto Sacca makes his Boston Symphony Orchestra debut this week. Born and raised in Germany, he is of Italo-German extraction. Mr. Sacca studied voice in Stuttgart and Karlsruhe, and his initial engagements took him to Wurzburg and Wiesbaden. Since his 1995 success in Haydn's Orfeo ed Euridice with Nikolaus Harnoncourt and Cecilia Bartoli at the Vienna Festival, he has sung in all of the world's major operatic centers, under such conductors as Bychkov, Bolton, Andrew Davis, Dohnanyi, Gardiner, Haitink, Harding, Harnoncourt, Hogwood, Luisi, Maazel, Zubin Mehta, Muti, Ozawa, Pappano, Pretre, Solti, Stein, Thielemann, and Welser- Most. From 1993 to 2002 he was on the roster of Zurich Opera, where, among other roles, he sang the principal role in the world premiere of Herbert Willi's Schlafes Bruder. After the open¬ ing concert of Venice's Teatro La Fenice under Muti in 2003, Mr. Sacca sang in the theater's inaugural production of La traviata under Maazel (including the DVD and telecast) in November 2004. His many engagements during the "Mozart Year" of 2006 included Idomeneo, Die Zauberflote, Lucio Silla, Die Entfuhrung aus dem Serail, Cosi fan tutte, and La clemenza di Tito, tak¬ ing him to Barcelona, Berlin, Dallas, the Salzburg Festival, Torino, Venice, Vienna, and Zurich. Other highlights of previous seasons have included role debuts as Bacchus in Ariadne auf Naxos, Florestan in Fidelio, and Fritz in Derferne Klang in Zurich, the Demon in Henze's L'Upupa und der Triumph der Sohnesliebe at Hamburg State Opera, the title role in Idomeneo at Berlin State Opera, the Duke in Rigoletto at Torino's Teatro Regio, the title role of Peter Grimes in Diisseldorf, the title role in The Gambler at London's Royal Opera-Covent Garden, and the title WEEK 26 GUEST ARTISTS 67 1 1961. Russia s w eads. Kennedy deploys School teachers Jr ■ ■[ JJ :: -^r The Peace Corps and its invaluable role in spreading liberty and justice around the world. Just one of the things to discover about John F. Kennedy’s first year in office. Visit the JFK Presidential Library and Museum. Columbia Point, Boston, jfklibrary.org role of Palestrina in Hamburg. His 2011-12 season includes a revival of Palestrina in Hamburg, Palestrina and his role debut as Walther von Stolzing in Die Meistersinger von Nurnberg in Zurich, his debut in the title role of Werther at Vienna State Opera, and his role debut as Don Jose in Carmen in Antwerp. In addition to this week's performances of Beethoven's Ninth Symphony, concert engagements include Bruckner's Te Deum with Zubin Mehta in Tel Aviv and at the Salzburg Festival. Future seasons bring Carmen at Deutsche Oper Berlin, Ariadne auf Naxos in Hamburg, a new production of Idomeneo at the Frankfurt Opera House, a new production of Die Meistersinger in Amsterdam and at the Salzburg Festival, Die Meistersinger in Zurich, his debut in the title role of Lohengrin in a new production at Dusseldorf Opera House, his house and role debut as Matteo in Arabella at the Metropolitan Opera, and Ariadne auf Naxos at Covent Garden. On the concert stage, Roberto Sacca has sung Schumann's Faust-Szenen, Haydn's Creation, Beethoven's Missa Solemnis, and Verdi's Requiem, among other works. His discography includes DVD recordings of La traviata under Maazel, Cos) fan tutte and Don Giovanni under Harnoncourt, Gianni Schicchi under Ozawa, Messiah under Rilling, and several CDs, including a solo recording of arias ranging from Donizetti to Verdi. w IHHHHH Gilnther Groissbock Making his Boston Symphony Orchestra debut this week, the Austrian bass Gunther Groissbock studied voice at Vienna's Academy for Music and Performing Arts, where he also took part in Robert Holt's master class; since 2005 he has been collaborating regularly with Jose van Dam. As a Fellow of the Herbert von Karajan Centre, Mr. Groissbock was an ensemble member of the Vienna State Opera in the 2002-03 season. From 2003-04 through 2006-07, as a mem¬ ber of the ensemble of Zurich Opera, he performed, among other roles, Sarastro in Die Zauberflote, Sparafucile in Rigoletto, the King of Egypt in Aida, Zoroastro in Handel's Orlando, and Mephisto in Schumann's Faust-Szenen. Since then he has been a guest with such notable companies as Berlin State Opera, Bavarian State Opera, Deutsche Oper Berlin, Vienna State Opera, Barcelona's Gran Teatro del Liceo, Teatro Real Madrid, San Francisco Opera, Los Angeles Opera, New York's Metropolitan Opera, Theatre du Chatelet, and Opera de Bastille Paris, as well as at the Salzburg Festival, performing such roles as the Landgraf in Tannhauser, Fafner in WEEK 26 GUEST ARTISTS 69 Anything for a quiet life. ^ Peace of mind comes with knowing you have provided for your loved ones and favorite charitable organizations. Davis Malm will customize your estate plan to help you attain a “quiet life,” so you can focus on the music. For more information, please contact Marjorie Suisman at 61 7-367-2500 or [email protected]. Davis Malm & BAgostine eg. Attorneys at Law ON THE LEGAL FRONTIER SINCE 1979 ONE BOSTON PLACE • BOSTON • 61 7.367.2500 • www.davismalm.com "Anything for a quiet life" by Frederic Remington generously provided by Frederic Remington Art Museum, Ogdensburg, NY, www.fredericremington.org. Looking for a retirement community with top grades in active living? Lasell Village combines the security of a continuing care retirement community with the unparalleled opportunities of an academic setting. LASELL VILLAGE Lasell Village, 120 Seminary Avenue, Newton, MA ww.lasellvillage.org Information, call Marcia Fredlich 6l7.663.7053 70 Dos Rheingold, Prince Gremin in Eugene Onegin, the Hermit in Der Freischutz, Sarastro in Die Zouberflote, Hunding in Die Walkure, and King Henry in Lohengrin. Also sought after for con¬ cert engagements, Gunther Groissbock has appeared at the Amsterdam Concertgebouw, Leipzig Gewandhaus, Berlin Philharmonie, London's Royal Festival Hall, Boston's Symphony Hall, and Vienna's Musikverein, working regularly with such conductors as Franz Welser- Most, Riccardo Chailly, Donald Runnicles, Zubin Mehta, Antonio Pappano, Bernard Haitink, Nikolaus Harnoncourt, Riccardo Muti, Valery Gergiev, Seiji Ozawa, Kent Nagano, Sir Roger Norrington, Philippe Jordan, Nello Santi, Christoph Eschenbach, Ivor Bolton, and Marek Janowski. Highlights of his 2010-11 season included Bruckner's Te Deum under Zubin Mehta in Florence and with the Bavarian Radio Symphony Orchestra conducted by Bernard Haitink, as well as Beethoven's Symphony No. 9 with the Munich Philharmonic and the Deutsches Symphonie-Orchester Berlin, Rusalka at Munich State Opera, Tannhduser at the Bayreuth Festival, Die Zouberflote at La Scala in Milan, La boh'eme at the Metropolitan Opera, and a new Ring cycle (as Fafner and Hunding) led by Philippe Jordan. The current season includes Die Zouberflote at Chicago Lyric Opera, Macbeth at the Metropolitan Opera, Lohengrin at Tokyo's New National Theatre, Mozart's Requiem in Orange (France), Tannhduser at the Bayreuth Festi¬ val, Boris Godunov in Madrid, and Rusalka at the Munich State Opera and Barcelona's Liceo. Tanglewood Festival Chorus John Oliver; Conductor During the BSO's 2011-12 subscription season at Symphony Hall, the Tanglewood Festival Chorus has joined the Boston Symphony Orchestra to perform excerpts from Wagner's Die Meistersinger von Nurnberg with Rafael Fruhbeck de Burgos conducting, Mendelssohn's Lobgesang with Bramwell Tovey, Beethoven's Missa Solemnis with John Oliver, Brahms's Ein deutsches Requiem with Christoph von Dohnanyi, Mendelssohn's Midsummer Night's Dream music with Bernard Haitink, and, to close the season this week, Stravinsky's Symphony of Psalms and Beethoven's Ninth Symphony, again under the direction of Bernard Haitink. 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 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 more than 250 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 coppella 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 fortieth 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 cappeila music released to mark the ensemble's 40th anniversary in 2010, and, with James Levine and the BSO, Ravel's complete Daphnis and Chloe (a Grammy-winner for Best Orchestral Performance of 2009), Brahms's Bin 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. Located steps from Symphony “Flail, our seniors have everything they need to enjoy a healthy, active and independent lifestyle: & SUSAN Personal care assistance Qn Perfect ‘Jdarmmy.:. B AILIS ‘Medication monitoring ASSISTlil) LIVING Three delicious meals Odouseheejoing and laundry 352 Massachusetts Ave. at St. Botolph St. Social and cultural enrichment Boston, MA 02115 1 Call “Maria to learn more about 617-247-1010 1 life at Susan ‘Bailis “AssistedLiving. www.susanbailis.com 1 72 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 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 900 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, WEEK 26 GUEST ARTISTS 73 at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO's perform¬ ances and recording of excerpts from Berg's Wozzeck led by Erich Leinsdorf. In 1966 he pre¬ pared 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 cappello 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 twenty-fifth anniversary), Beethoven's Mass in C in 1998, and Bach's motet Jesu, meine Freude in 2010 (to mark the TFC's fortieth anniversary). This past February, 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 in 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 Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of 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 Andre 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 Symphony Orchestra debut in December 2011 conducting performances of Handel's Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achieve¬ ment Award, presented by Choral Arts New England in recognition of his outstanding contri¬ butions to choral music. 74 Tanglewood Festival Chorus John Oliver, Conductor (Stravinsky Symphony of Psalms and Beethoven Symphony No. 9, May 3, 4, and 5, 2012) In the following list, 5 denotes membership of 40 years * denotes membership of 35-39 years, and * denotes membership of 25-34 years. SOPRANOS Deborah Abel • Carol Amaya • Michele Bergonzi# • Joy Emerson Brewer • Jeni Lynn Cameron • Anna S. Choi • Lorenzee Cole# • Emilia DiCola • Christine Pacheco Duquette* • Sarah Evans ■ Mary A.V. Feldman * • Hailey Fuqua • Karen Ginsburg • Bonnie Gleason • Beth Grzegorzewski • Carrie Louise Hammond • Beth Ann Homoleski • Polina Dimitrova Kehayova • Carrie Kenney • Nancy Kurtz • Judy Lim • Karen M. Morris ■ Jaylyn Olivo • Laurie Stewart Otten • Kimberly Pearson • Adi Rule • Yayra Sanchez • Laura C. Sanscartier • Pamela Schweppe • Joan P. Sherman5 • Stephanie Steele • Lauren Woo MEZZO-SOPRANOS Virginia Bailey • Martha A.R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Janet Casey • Abbe Dalton Clark • Sarah Dorfman Daniello# • Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Katherine Barrett Foley • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride# • Denise Glennon • Rachel K. Hallenbeck • Betty Jenkins • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston# ■ Anne Forsyth Martin • Louise-Marie Mennier • Kathleen Hunkele Schardin ■ Elodie Simonis • Ada Park Snider* ■ Amy Spound ■ Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Christina Lillian Wallace • Marguerite Weidknecht TENORS Brad W. Amidon • Armen Babikyan • John C. Barr# ■ Felix M. Caraballo • Jiahao Chen • Stephen Chrzan • Andrew Crain • Sean Dillon • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • Leon Grande • J. Stephen Groff* • John W. Hickman# • Stanley G. Hudson# • Timothy 0. Jarrett • James R. Kauffman* • Thomas Kenney ■ Jordan King • Lance Levine • Henry Lussier* • John R. Papirio ■ Dwight E. Porter* ■ Peter Pulsifer • Brian R. Robinson • Francis Rogers • Blake Siskavich ■ Peter L. Smith • Andrew Wang • Hyun Yong Woo BASSES Nicholas Altenbernd • Nathan Black • Daniel E. Brooks* • Matthew E. Crawford • Michel Epsztein • Mark Gianino • Jim Gordon • David M. Kilroy • Will Koffel • G.P. Paul Kowal • Bruce Kozuma • Daniel Lichtenfeld • Nathan Lofton • Joshua H. Nannestad • Eryk P. Nielsen • Stephen H. Owades5 William Brian Parker • Dale Peak • Donald R. Peck • Michael Prichard • Bradley Putnam • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Jayme Stayer • Scott Street • Craig A. Tata ■ Stephen Tinkham • Bradley Turner • Thomas C. Wang* Mark B. Rulison, Chorus Manager Bridget L. Sawyer-Revels, Assistant Chorus Manager Martin Amlin, Rehearsal Pianist WEEK 26 GUEST ARTISTS 75 BERNARD HAITINK, CONDUCTOR EMERITUS LACROIX FAMILY FUND CONDUCTOR EMERITUS, ENDOWED IN PERPETUITY SEIJI OZAWA, MUSIC DIRECTOR LAUREATE 131th season, 2011-2012 2011-2012 SEASON SUMMARY WORKS PERFORMED DURING THE BOSTON SYMPHONY ORCHESTRA'S 2011-2012 SUBSCRIPTION SEASON WEEK J.S. BACH Violin Concerto in D minor, BWV 1052 21 LEONIDAS KAVAKOS, violin and conductor BARBER Piano Concerto, Op. 38 7 GARRICK OHLSSON, piano BARTOK Suite from The Miraculous Mandarin, Op. 19 8, UBS The Wooden Prince, Op. 13 3 BEETHOVEN Leonore Overture No. 3 10 Missa Solemnis in D, Op. 123 18 CHRISTINE BREWER, soprano; MICHELLE DEYOUNG, mezzo-soprano; SIMON O'NEILL, tenor; ERIC OWENS, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 1 in C, Op. 15 12 LEIF OVE ANDSNES, piano Piano Concerto No. 2 in B-flat, Op. 19 16 EMANUEL AX, piano Piano Concerto No. 4 in G, Op. 58 10 JONATHAN BISS, piano Symphony No. 1 in C, Op. 21 24 Symphony No. 4 in B-flat, Op. 60 21 Symphony No. 6 in F, Op. 68, Pastoral 25 Symphony No. 9 in D minor, Op. 125 26 JESSICA RIVERA, soprano; MEREDITH ARWADY, mezzo-soprano; ROBERTO SACCA, tenor; GONTHER GROISSBOCK, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BERLIOZ Overture to Benvenuto Cellini 19 Roman Carnival Overture, Op. 9 8, UBS Symphonie fantastique, Op. 14 19 76 BRAHMS A German Requiem, Op. 45 ANNA PROHASKA, soprano; HANNO MIILLER-BRACHMANN, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Piano Concerto No. 2 in B-flat, Op. 83 NICHOLAS ANGELICH, piano Symphony No. 3 in F, Op. 90 BRITTEN Four Sea Interludes from Peter Grimes CARTER Flute Concerto ELIZABETH ROWE, flute COPLAND Fanfare for the Common Man DEBUSSY La Mer, Three symphonic sketches Prelude to The Afternoon of a Faun DUTILLEUX Tout un monde lointain..., for cello and orchestra GAUTIER CAPUCON, cello DVORAK Cello Concerto in B minor, Op. 104 YO-YO MA, cello Violin Concerto in A minor, Op. 53 FRANK PETER ZIMMERMANN, violin HARBISON Symphony No. 4 Symphony No. 5 for Baritone, Mezzo-soprano, and Orchestra SASHA COOKE, mezzo-soprano; GERALD FINLEY, baritone Symphony No. 6 (world premiere; BSO commission) PAULA MURRIHY, mezzo-soprano HAYDN Symphony No. 1 in D Symphony No. 88 in G Symphony No. 100 in G, Military KODALY Dances of Galdnta LUTOStAWSKI Musique funebre, for strings MAHLER Symphony No. 1 in D WEEK 26 2011-2012 SEASON SUMMARY MENDELSSOHN Lobgesang (Hymn of Praise), Symphony-cantata, Op. 52 14 CAROLYN SAMPSON, soprano; CAMILLA TILLING, soprano; JOHN TESSIER, tenor; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Overture (Op. 16) and Incidental music (Op. 61) to A Midsummer Night's Dream 24 LAYLA CLAIRE, soprano; KATE LINDSEY, mezzo-soprano; CLAIRE BLOOM, narrator; WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; PALS CHILDREN'S CHORUS, ANDY ICOCHEA ICOCHEA, artistic director Symphony No. 3 in A minor, Op. 56, Scottish 20 MOZART Piano Concerto No. 22 in E-flat, K.482 25 TILL FELLNER, piano Piano Concerto No. 25 in C, K.503 8, UBS RICHARD GOODE, piano Violin Concerto No. 1 in B-flat, K.207 1 Violin Concerto No. 2 in D, K.211 1 Violin Concerto No. 3 in G, K.216 Opening Night Violin Concerto No. 4 in D, K.218 1 Violin Concerto No. 5 in A, K.219 Opening Night ANNE-SOPHIE MUTTER, violin and conductor PROKOFIEV Piano Concerto No. 3 in C, Op. 26 2 JEAN-EFFLAM BAVOUZET, piano RACHMANINOFF Symphony No. 2 in E minor, Op. 27 16 RAVEL Daphnis et Chloe, Suite No. 2 9 Mother Goose Suite 17 Piano Concerto in G 19 CEDRIC TIBERGHIEN, piano Le Tombeau de Couperin 23 Symphony Shopping Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue. Open Thursday and Saturday, 3-6pm, and for all Symphony Hall performances BOSTON SYMPHONY ORCHESTRA through intermission. 78 SALONEN Violin Concerto 23 LEILA JOSEFOWICZ, violin SCHUMANN Violin Concerto in D minor 5 GIDON KREMER, violin SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 17 SIBELIUS Symphony No. 2 in D, Op. 43 2 STRAUSS Suite from Le Bourgeois Gentilhomme 15 Ein Heldenleben, Op. 40 5 Serenade in E-flat for Thirteen Winds, Op. 7 13 Thus spake Zarathustra, Op. 30 11 Till Eulenspiegel's Merry Pranks, Op. 28 12 STRAVINSKY Concerto for Piano and Winds 17 PETER SERKIN, piano The Firebird (complete) 23 The Rite of Spring 13 Symphony of Psalms 26 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor TCHAIKOVSKY Serenade in C for Strings, Op. 48 13 Symphony No. 6 in B minor, Op. 74, Pathetique 1 TOMASI "Procession du Vendredi-saint" from Fanfares liturgiques 13 TURNAGE From the Wreckage, for trumpet and orchestra (American premiere) 11 HAKAN HARDENBERGER, trumpet WAGNER Excerpts from Die Meistersinger von Nurnberg 6 JAMES MORRIS, bass-baritone (Hans Sachs); MATTHEW DlBATTISTA, tenor (David); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Prelude and Liebestod from Tristan und Isolde UBS WEBER Overture to Euryanthe 12 Overture to Der Freischutz 7 week 26 2011-2012 SEASON SUMMARY 79 CONDUCTORS OF THE BOSTON SYMPHONY ORCHESTRA DURING THE 2011-2012 SEASON WEEK jiri belohlAvek 10 MYUNG-WHUN CHUNG 7 STEPHANE DENEVE 17 CHRISTOPH VON DOHNANYI 22 CHARLES DUTOIT 15 CHRISTOPH ESCHENBACH 19 RAFAEL FRUHBECK DE BURGOS 5,6 GIANCARLO GUERRERO 13 (Stravinsky only) BERNARD HAITINK, BSO Conductor Emeritus 24, 25, 26 LEONIDAS KAVAKOS, violin and conductor 21 MARCELO LEHNINGER, BSO Assistant Conductor* 11,17 (February 21 only) KURTMASUR 4 JUANJO MENA 3 LUDOVIC MORLOT 8, UBS, 9 ANNE-SOPHIE MUTTER, violin and conductor Opening Night, 1 SEAN NEWHOUSE, BSO Assistant Conductor 2 JOHN OLIVER* 18 ESA-PEKKA SALONEN 23 BRAMWELLTOVEY 14 JURAJ VALCUHA 20 JAAP VAN ZWEDEN 16 DAVID ZINMAN 12 Replacing Andris Nelsons ''replacing Kurt Masur For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact 8o SOLOISTS WITH THE BOSTON SYMPHONY ORCHESTRA DURING THE 2011-2012 SEASON WEEK LEIFOVE ANDSNES, piano 12 NICHOLAS ANGELICH, piano* 4 MEREDITH ARWADY, mezzo-soprano 26 EMANUEL AX, piano 16 JEAN-EFFLAM BAVOUZET, piano 2 CHRISTINE BREWER, soprano 18 JONATHAN BISS, piano 10 CLAIRE BLOOM, narrator 24 GAUTIER CAPUCON, cello 15 LAYLA CLAIRE, soprano 24 SASHA COOKE, mezzo-soprano 10 MICHELLE DEYOUNG, mezzo-soprano 18 MATTHEW DlBATTISTA, tenor 6 TILLFELLNER, piano 25 GERALD FINLEY, baritone 10 RICHARD GOODE, piano 8, UBS GONTHER GROISSBOCK, bass 26 HAKAN HARDENBERGER, trumpet 11 LEILA JOSEFOWICZ, violin 23 LEONIDAS KAVAKOS, violin and conductor 21 GIDON KREMER, violin 5 KATE LINDSEY, mezzo-soprano 24 YO-YO MA, cello 3 JAMES MORRIS, bass-baritone 6 HANNO MOLLER-BRACHMANN, bass-baritone 22 PAULA MURRIHY, mezzo-soprano 12 ANNE-SOPHIE MUTTER, violin and conductor Opening Night, 1 GARRICK OHLSSON, piano 7 SIMON O'NEILL, tenor 18 ERIC OWENS, bass-baritone 18 ANNA PROHASKA, soprano 22 JESSICA RIVERA, soprano 26 ELIZABETH ROWE, flute 8 ROBERTO SACCA, tenor 26 CAROLYN SAMPSON, soprano 14 PETER SERKIN, piano 17 JOHN TESSIER, tenor1- 14 CEDRIC TIBERGHIEN, piano 19 CAMILLA TILLING, soprano 14 FRANK PETER ZIMMERMANN, violin 20 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 6,14,18, 22, 24, 26 PALS CHILDREN'S CHORUS, ANDY ICOCHEA ICOCHEA, artistic director 24 ‘replacing Yefim Bronfman t replacing Mark Padmore WEEK 26 2011-2012 SEASON SUMMARY 81 DEPOSIT & CASH MANAGEMENT • RESIDENTIAL MORTGAGE INVESTMENT MANAGEMENT & TRUST • COMMERCIAL BANKING Not all philanthropists have BUILDINGS NAMED AFTER THEM. . Philanthropic giving is always welcome, regardless of what form it takes. Boston Private Bank & Trust Company’s Donor Advised Fund is a simple and flexible tool that makes charitable giving easier than ever. It enables you to set aside funds and recommend grants to qualified nonprofit organizations according to your interests and on your timetable, all while realizing a tax benefit. It is just one of the ways we make the connections that count — connections to the financial expertise you need, and a personal connection that goes far beyond the sum of our transactions. Boston Private Bank @ Trust Company Please contact Richard MacKinnon, SeniorVice President, at (617) 912-4287 or [email protected] Investments are not FDIC insured, have no Bank guarantee, are not a deposit, and may lose value. OPENING NIGHT Friday, September 30, 2011, 6pm ANNE-SOPHIE MUTTER, violin and conductor ALL-MOZART Violin Concerto No. 3 in G, K.216 PROGRAM Violin Concerto No. 5 in A, K.219 UBS THANKSGIVING CONCERT Friday, November 18, 2011, 8pm LUDOVIC MORLOT, conductor RICHARD GOODE, piano BERLIOZ Roman Carnival Overture, Op. 9 MOZART Piano Concerto No. 25 in C, K.503 WAGNER Prelude and Liebestod from Tristan und Isolde BARTOK Suite from The Miraculous Mandarin, Op. 19 THREE-CONCERT SERIES AT CARNEGIE HALL Tuesday, March 6, 2012, 8pm JOHN OLIVER, conductor* CHRISTINE BREWER, soprano MICHELLE DEYOUNG, mezzo-soprano SIMON O'NEILL, tenor ERIC OWENS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor BEETHOVEN Missa Solemnis in D, Op. 123 Wednesday, March 7, 2012, 8pm CHRISTOPH ESCHENBACH, conductor CEDRIC TIBERGHIEN, piano BERLIOZ Overture to Benvenuto Cellini RAVEL Piano Concerto in G BERLIOZ Symphonie fantastique, Op. 14 Friday, March 9, 2012, 8pm STEPHANE DENEVE, conductor PETER SERKIN, piano RAVEL Mother Goose Suite STRAVINSKY Concerto for Piano and Winds SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 replacing Kurt Masur i WEEK 26 2011-2012 SEASON SUMMARY 83 MlMMMMgM “ I.':: 1" 1 • ■ :t i T-\, Y \ ^ 1 1 1 1 DECEMBER 2011 CALIFORNIA TOUR DAVIES SYMPHONY HALL, SAN FRANCISCO Tuesday, December 6, 2011,J3p>m LUDOVIC MORLOT, conductor RICHARD GOODE, piano ELIZABETH ROWE, flute BERLIOZ Roman Carnival Overture, Op. 9 MOZART Piano Concerto No. 25 in C, K.503 CARTER Flute Concerto BARTOK Suite from The Miraculous Mandarin, Op. 19 Encore: STRAVINSKY Greeting Prelude Wednesday, December 7, 2011, 8pm LUDOVIC MORLOT, conductor HARBISON Symphony No. 4 RAVEL Daphnis et Chloe, Suite No. 2 MAHLER Symphony No. 1 GRANADA THEATRE, SANTA BARBARA ThursdayJO e c e m b e r_8, 2011, 8pm LUDOVIC MORLOT, conductor RICHARD GOODE, piano BERLIOZ Roman Carnival Overture, Op. 9 MOZART Piano Concerto No. 25 in C, K.503 WAGNER Prelude and Liebestod from Tristan und Isolde BARTOK Suite from The Miraculous Mandarin, Op. 19 MCCALLUM THEATRE, PALM DESERT Friday, December 9, 2011, 5pm LUDOVIC MORLOT, conductor RICHARD GOODE, piano BERLIOZ Roman Carnival Overture, Op. 9 MOZART Piano Concerto No. 25 in C, K.503 MAHLER Symphony No. 1 WALT DISNEY CONCERT HALL, LOS ANGELES Saturday, December 10, 2011, 8pm LUDOVIC MORLOT, conductor GIL SHAHAM, violin BRAHMS Violin Concerto in D, Op. 77 HARBISON Symphony No. 4 RAVEL Daphnis et Chloe, Suite No. 2 Encore: BERLIOZ Roman Carnival Overture WEEK 26 2011-2012 SEASON SUMMARY 85 WORKS PERFORMED IN FENWAY CENTER AND COMMUNITY CONCERTS DURING THE 2011-2012 SUBSCRIPTION SEASON WEEK BACH Aria, "Sheep may safely graze," from Cantata No. 208 (arr. Dejardin) 4/5 Fugue in C-sharp minor, BWV 849, from The Well-Tempered Clavier 23 Fugue in G minor, BWV 578 ("The Little") 23 Sinfonia No. 1 in C, BWV 787 (arr. by Ralph Sauer for three trombones) 19a Toccata and Fugue in D minor, BWV 565 (arr. Moore) 4/5 BEETHOVEN String Quartet in D, Op. 18, No. 3 7/8 Trio in C for two oboes and English horn, Op. 87 (arr. by Ralph Sauer for 19a three trombones) BRUCKNER Two Aequale in C 19a DAHL Music for Brass Instruments 23 DAVIS Power Trio for three trombones 19a DEBUSSY Clair de lune (arr. Dejardin) 4/5 DEJARDIN The Wolfgang Variations 4/5 DUKAS Fanfare to precede the ballet La Peri (arr. Barrington) 23 DVORAK Humoreska in G, Op. 101, No. 7 (arr. Dejardin) 4/5 String Quintet in G, Op. 77 14 EWAZEN Two movements from Colchester Fantasy, for brass quintet 23 GABRIELI Canzona per sonare No. 1, La Spiritata 23 Canzona per sonare No. 4 23 HIDAS Interludio 19a HOSHII The Waltz of the Black Ants, for cello quartet 4/5 MENDELSSOHN String Quartet in A, Op. 13 19 MOZART String Quartet No. 17 in B-flat, K.458, Hunt 19 86 MUSSORGSKY Four movements from Pictures at an Exhibition (arr. Dejardin) 4/5 PART Fratres, for four cellos 4/5 PREMRU Two Pieces (Felicity, Episode) for three trombones 19a RIMSKY-KORSAKOV The Flight of the Bumblebee (arr. King) 4/5 SCHROEDER String Trio in E minor, Op. 14, No. 1 14 SCHUMANN String Quartet in A minor, Op. 41, No. 1 7/8 SCIORTINO Iber-Amer, Three Dances from Latin America 4/5 PERFORMERS IN FENWAY CENTER AND COMMUNITY CONCERTS DURING THE 2011-2012 SUBSCRIPTION SEASON WEEK ROBERT BARNES, viola 14 BOSTON CELLO QUARTET 4/5 (BLAISE DEJARDIN, ADAM ESBENSEN, ALEXANDRE LECARME, MIHAIL JOJATU, cellos) NANCY BRACKEN, violin 14 BLAISE DEJARDIN, cello 19 ADAM ESBENSEN, cello 14 RACHEL FAGERBURG, viola 19 SHEILA FIEKOWSKY, violin 19 REBECCA GITTER, viola 7/8 JASON HOROWITZ, violin 7/8 ELITA KANG, violin 7/8 VALERIA VILKER KUCHMENT, violin 14 STEPHEN LANGE, trombone 19a, 23 MICHAEL MARTIN, trumpet 23 TOBY OFT, trombone 19a JASON SNIDER, horn 23 JOHN STOVALL, double bass 14 BENJAMIN WRIGHT 23 DOUGLAS YEO, bass trombone 19a, 23 OWEN YOUNG, cello 7/8 YUNCONG ZHANG, violin 19 WEEK 26 2011-2012 SEASON SUMMARY 87 OVERTURE. REDEFINED Pre-concert dining at Symphony Hall is the perfect complement to an evening of world-class music. Book your pre-concert meal when you book your tickets. BOSTON SYMPHONY View sample menus and place your order in advance at bso.org/dining ORCHESTRA Symphony Hall GOURMETCATERERS.COM • 617.638.9245 BOSTON GOURMET, A PARTNERSHIP OF GOURMET CATERERS AND CENTERPLATE, IS THE EXCLUSIVE CATERER FOR THE BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY CHAMBER PLAYERS 2011-2012 SUBSCRIPTION SEASON Four Sunday afternoons at 3pm in Jordan Hall at New England Conservatory of Music October 16, 2011 janaCek Mladi, for flute, two clarinets, oboe, bassoon, and horn MARTINU Sextet for piano and winds DVORAK String Quintet in G, Op. 77 January 22, 2012 MOZART Serenade No. 12 in C minor for winds, K.388 BEETHOVEN Serenade in D for flute, violin, and viola, Op. 25 BRAHMS Serenade No. 1 in D for winds and strings (arr. BOUSTEAD) March 25, 2012 with GIL ROSE, conductor JESSICA RIVERA, soprano GUBAIDULINA Hommage a T.S. Eliot, for soprano, clarinet, bassoon, horn, two violins, viola, cello and double bass LIADOV Eight Russian Folksongs, for wind quintet, Op. 58 STRAVINSKY Pastorale, for soprano, oboe, English horn, clarinet, and bassoon TCHAIKOVSKY Serenade in C for strings, Op. 48 April 22, 2012 BRITTEN Phantasy Quartet for oboe and string trio, Op. 2 ADES Court Studies from The Tempest, for clarinet, violin, cello, and piano JACOB Sextet in B-flat for piano and winds, Op. 6 ELGAR Serenade in E minor for strings, Op. 20 BRITTEN Sinfonietta for winds and strings, Op. 1 ARTICLES/FEATURES PRINTED IN THE BOSTON SYMPHONY ORCHESTRA PROGRAM BOOKS DURING THE 2011-2012 SUBSCRIPTION SEASON WEEK A Brief History of the Boston Symphony Orchestra Opening Night/1, 6, 7, 9,10,14,16,18 A Brief History of Symphony Hall 6, 8, 9, 25 A BSO Player's Perspective—J. William Hudgins 8, 9,10 A BSO Player's Perspective—Elita Kang 24, 25, 26 A BSO Player's Perspective—Lawrence Wolfe 15,16,17,18 A BSO Player's Perspective—Douglas Yeo 2, 3, 4 Casts of Character: The Symphony Statues, by Caroline Taylor 13,19 Old Strains Reawakened: The Boston Symphony's 20, 21, 22, 23 Historical Instrument Collection, by Douglas Yeo The Great Strauss Tone Poems: A Composer's Journey 5,11,12 Through Young Manhood, by Paul Thomason WEEK 26 2011-2012 SEASON SUMMARY 89 The Great Benefactors In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of run¬ ning a great orchestra. From 1881 to 1918 Higginson covered the orchestra's annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving, at 617-638-9269 or [email protected]. TEN MILLION AND ABOVE Julian Cohen t • 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. • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack t Fitzpatrick • Sally t and Michael Gordon ■ Susan Morse Hilles + ■ Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation ■ The Kresge Foundation • Liberty Mutual Foundation, Inc. • National Endowment for the Arts • Lia and William Poorvu • Miriam and Sidney Stoneman + • Elizabeth B. Storer + • Samantha and John Williams • Anonymous (2) 90 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 t • 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. t 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 t • 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 t • Francis Lee Higginson + • Major Henry Lee Higginson t • Edith C. Howie + • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. t Kaye • Nancy D. and George H. t Kidder ■ Faria and Harvey Chet + Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith t • Vera M. and John D. MacDonald t • Nancy Lurie Marks Family Foundation ■ Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • Andrew W. Mellon Foundation ■ Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Cecile Higginson Murphy • Mary S. Newman • Mrs. Mischa Nieland + and Dr. Michael L. Nieland • Mr. t and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. t • Susan and Dan Rothenberg ■ Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen t • Hannah H. t 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. Sternberg ■ Dr. Nathan B. and Anne P. Talbot t ■ Caroline and James Taylor • Diana 0. Tottenham ■ The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler + • Anonymous (10) t Deceased WEEK 26 THE GREAT BENEFACTORS 0-' The Higginson Society Listing JOHN M. LODER, CHAIR, BOSTON SYMPHONY ORCHESTRA ANNUAL FUNDS GENE D. DAHMEN, CO-CHAIR, symphony annual fund JEFFREY E. MARSHALL, CO-CHAIR, symphony annual fund The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by April 20, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. fThis symbol denotes a deceased donor. CHAIRMAN'S $100,000 and above Ted and Debbie Kelly l88l FOUNDERS SOCIETY $50,000 to $99,999 Peter and Anne Brooke ■ John S. and Cynthia Reed • Susan and Dan Rothenberg ENCORE $25,000 TO $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix ■ Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Richard and Nancy Lubin • Mr. and Mrs. Jeffrey E. Marshall • Carmine A. and Beth V. Martignetti • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O'Block • Drs. Joseph J. and Deborah M. Plaud • Lia and William Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte t and Michael Sporn • Terry and Rick Stone • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner • Rhonda and Michael J. Zinner, M.D. • Linda M. and D. Brooks Zug • Anonymous (4) MAESTRO $15,000 to $24,999 Alii and Bill Achtmeyer • Lois and Harlan Anderson • Mr. and Mrs. John M. Bradley • Lorraine D. and Alan S. Bressler • William David Brohn ■ Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser ■ Ronald and Ronni Casty • 92 John F. Cogan, Jr. and Mary L. Cornille • Diddy and John Cullinane • Mr. and Mrs. Miguel de Braganca ■ Happy and Bob Doran • Julie and Ronald M. Druker • Thomas and Winifred Faust • Jody and Tom Gill • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Benjamin Schore • Kristin and Roger Servison • Drs. Christoph and Sylvia Westphal • Joan D. Wheeler • Robert and Roberta Winters PATRON $10,000 to $14,999 Amy and David Abrams ■ Ms. Lucille M. Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mark G. and Linda Borden • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Sternberg • Joseph M. Cohen • Dr. Lawrence H. and Roberta Cohn • Mrs. William H. Congleton • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Roger and Judith Feingold • Larry and Atsuko Fish • Laurel E. Friedman • Dr. and Mrs. Blaine Gaustad • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Dr. Susan Hockfield and Dr. Thomas Byrne • Mr. Ernest K. Jacquet ■ Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Faria Krentzman • Mr. and Mrs. Peter E. Lacaillade ■ Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Marc Mayer • Dr. Robert and Jane B. Mayer • Sandra 0. Moose • Richard P. and Claire W. Morse • Mary S. Newman • Annette and Vincent O'Reilly • Jane and Neil Pappalardo • Susanne and John Potts ■ William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Maureen and Joe Roxe/The Roxe Foundation • Anne and Douglas H. Sears • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David C. Weinstein • Drs. Richard and Judith Wurtman • Anonymous (4) SPONSOR $5,000 to $9,999 Noubar and Anna Afeyan ■ Jim and Virginia Aisner • Vernon R. Alden • Joel and Lisa Schmid Alvord • Mr. and Mrs. Walter Amory • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Dr. Lloyd Axelrod • Judith and Harry Barr • Roz and Wally Bernheimer • Brad and Terrie Bloom • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • The Cavanagh Family • Mrs. Abram T. Collier • Marvin and Ann Collier • Eric Collins and Michael Prokopow • Donna and Don Comstock • Howard Cox • Mr. and Mrs. Albert M. Creighton, Jr. • Mrs. Bigelow Crocker • Prudence and William Crazier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Tamara P. and Charles H. Davis II • Jonathan and Margot Davis • Lori and Paul Deninger • Charles and JoAnne Dickinson • Ms. Michelle Dipp • Mrs. Richard S. Emmett • Pamela D. Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Shirley and Richard Fennell • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • David Endicott Gannett • Mr. and Mrs. M. Dozier Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Mr. and Mrs. Robert R. Glauber • Mr. and Mrs. Mark Goldweitz • Mr. and Mrs. Raymond C. Green • WEEK 26 THE HIGGINSON SOCIETY LISTING Vivian and Sherwin Greenblatt • John and Ellen Harris • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Mr. and Mrs. Charles Hood ■ Timothy P. Horne • Judith S. Howe Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Mrs. Bela T. Kalman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn ■ The Krapels Family • Mrs. Barbara N. Kravitz • Mr. Melvin Kutchin • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Alexander M. Levine • Christopher and Laura Lindop • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Jerry and Mary Nelson ■ Mr. and Mrs. Rodger P. Nordblom • William A. Oates • Mr. and Mrs. Joseph O'Donnell • Mr. and Mrs. Peter Palandjian • Jay and Eunice Panetta ■ Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke ■ Mrs. George R. Rowland • Sean Rush and Carol C. McMullen • Mr. and Mrs. Grant Schaumburg • Linda and Arthur Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka ■ Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • Patricia L. Tambone • Mr. and Mrs. Mark D. Thompson • Marian and Dick Thornton • Mrs. Blair Trippe ■ Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joelle Wartosky • Mrs. Charles H. Watts II ■ Ruth and Harry Wechsler • Mrs. John J. Wilson + • Jay A. Winsten and Penelope J. Greene • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Patricia Plum Wylde • Mrs. John C. Zacharis • Anonymous (8) MEMBER $3,000 to $4,999 Mrs. Herbert Abrams • Mariann and Mortimer Appley • Mr. and Mrs. Laurence Asquith ■ Carol and Sherwood Bain • Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Dr. and Mrs. Peter A. Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • John and Molly Beard ■ Deborah Davis Berman and William H. Berman • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi ■ Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Gertrude S. Brown • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush Mr. and Mrs. Kevin T. Callaghan ■ Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Mr. and Mrs. Dan Ciampa Mr. and Mrs. Ronald C. Clark • Chris and Keena Clifford • Mr. and Mrs. Frederic M. Clifford Ms. Carol Feinberg Cohen • Marjorie B. and Martin Cohn • Mr. Stephen E. Coit • Mrs. I. W. Colburn ■ Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Mark Costanzo and Ms. Alice Libby • Mr. Ernest Cravalho and Ms. Ruth Tuomala • Joanna Inches Cunningham • Robert and Sara Danziger • Drs. Anna L. and Peter B. Davol • Ms. Ashley W. Denton • Mr. Richard D. Dixon and Mr. Douglas W. Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian ■ Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. Harriett M. Eckstein • Dr. and Mrs. Richard H. Egdahl • Mrs. Betty M. Ellis • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Professor Edward J. Fitzpatrick, Jr. • Mr. and Mrs. Reginald Foster ■ Robert C. and Velma Frank • 94 Myrna H. and Eugene M. Freedman ■ Mr. Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Jordan and Sandy Golding ■ Roberta Goldman • Adele C. Goldstein • Mr. Jack Gorman • Mr. and Mrs. Robert S. Green • Mr. and Mrs. George L. Greenfield • Mrs. Daniel S. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger ■ The Grossman Family Charitable Foundation • Mr. and Mrs. Graham Gund ■ Anne Blair Hagan • Mr. David R. Harding and Ms. Jan E. Nyquist • Margaret L. Hargrove • Deborah Hauser * Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan ■ Albert A. Holman III and Susan P. Stickells ■ G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Joan B. Kennedy • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Mr. and Mrs. Benjamin H. Lacy • Mr. and Mrs. Robert A. Lawrence ■ Mr. and Mrs. Don LeSieur • Brenda G. Levy • Emily Lewis • Mrs. Satoru Masamune • Linda A. Mason and Roger H. Brown • Dr. and Mrs. John D. Matthews • Michael and Rosemary McElroy • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Mr. Andrew L. Nichols • George and Connie Noble • Richard and Kathleen Norman • Mr. and Mrs. Geoffrey Nunes • Mr. and Mrs. Robert T. O'Connell • Mr. and Mrs. Gerald F. O'Neil • Ms. Hiroko Onoyama • Dr. and Mrs. Stuart Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Ms. Joyce Plotkin and Bennett Aspel, M.D. • Ms. Josephine Pomeroy • Elizabeth F. Potter and Joseph Bower • Ms. Helen C. Powell • Michael C.J. Putnam • Robert and Sally Quinn ■ James and Melinda Rabb • Jane M. Rabb • Helen and Peter Randolph ■ Mr. and Mrs. Norton H. Reamer ■ John S. Reidy • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz ■ Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Marcia A. Rizzotto + • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • William and Kathleen Rousseau • Arnold Roy • Jordan S. Ruboy, M.D. • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Norma and Roger A. Saunders • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Robert E. Scully, M.D. • Mr. and Mrs. Richard F. Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross English Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • Mr. and Mrs. George R. Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann ■ Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Mr. and Mrs. Galen L. Stone • Mr. Henry S. Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • John Lowell Thorndike • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Mrs. Donal B. Tobin • Dr. Magdalena Tosteson • Diana 0. Tottenham ■ Marc and Nadia Ullman • Herbert W. Vaughan • Martha Voisin • Mr. and Mrs. Mark Volpe • Eileen and Michael Walker • Matt and Susan Weatherbie ■ Mrs. Mary Wilkinson-Greenberg • J. David Wimberly • Chip and Jean Wood • Mrs. Jane S. Young • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8) WEEK 26 THE HIGGINSON SOCIETY LISTING 2011-12 Season Supporters of Named Concerts and Oh Guest Artist Appearances The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2011-12 season. Concerts and guest artists are available for nam¬ ing to Boston Symphony and Boston Pops Annual Fund supporters of $25,000 or more and may also be endowed for a minimum of ten years. 2011-12 NAMED CONCERTS October 6, 2011 The Beranek Concert October 7, 2011 The Fanny Peabody Mason Memorial Concert October 20, 2011 The Eloise and Raymond H. Ostrander Memorial Concert October 22, 2011 In memory of Charles Jacobs October 28, 2011 The Walter Piston Society Concert January 6, 2012 The Marie L. Audet Gillet Concert January 7, 2012 The Fernand Gillet Concert January 14, 2012 The Theresa M. and Charles F. Stone III Concert January 28, 2012 The Deborah and William R. Elfers Concert February 8 - 11, 2012 Donor Appreciation Week February 10, 2012 The Henry Lee Higginson Memorial Concert February 11, 2012 The Akiko Shiraki Dynner Memorial Concert February 18, 2012 The Gregory E. Bulger Foundation Concert February 25, 2012 The Kitte Sporn Concert March 9, 2012 Supported by the Billy Rose Foundation (Carnegie Hall) March 27, 2012 The George D. and Margo Behrakis Concert March 30, 2012 The Norman V. and Ellen B. Ballou Memorial Concert April 6, 2012 The Peter and Anne Brooke Concert April 13, 2012 The Ruth Clayton Saris Concert April 14, 2012 The Mr. and Mrs. Jeffrey E. Marshall Concert April 19, 2012 The Virginia Wellington Cabot Memorial Concert April 20, 2012 In appreciation of the Boston Symphony Orchestra's concertgoers, from Joseph Hearne and Jan Brett, on the occasion of Joe's 50th season as a member of the BSO double bass section April 21, 2012 The Linde Family Concert 96 April 24, 2012 • The Boston Symphony Association of Volunteers Concert April 27, 2012 • The Peter and Anne Brooke Concert April 28, 2012 • The Stephen and Dorothy Weber Concert May 3, 2012 • Supported by a generous bequest from Arlene M. Jones May 4, 2012 • The Carmine A. and Beth V. Martignetti Concert May 5, 2012 • The Joseph and Deborah Plaud Concert 2011-12 NAMED SUPPORT OF GUEST ARTISTS Yo-Yo Ma • Supported by a generous gift from Nancy and Richard Lubin (October 15) Garrick Ohlsson • Supported by a generous gift from Cynthia and Oliver Curme (November 10) Garrick Ohlsson • Supported by the Elfers Fund for Performing Artists, established in (November 12) honor of Deborah Bennett Elfers Guest vocalists' • Supported by the Alan J. and Suzanne W. Dworsky Fund for Voice appearances and Chorus (February 23) and all appearances of the Tanglewood Festival Chorus Cedric Tiberghien • In memory of Mary Rousmaniere Gordon (March 7— Carnegie Flail) Guest vocalists' • Supported by the Roberta M. Strang Memorial Fund appearances (April 5) Guest vocalists' • Supported by the Ethan Ayer Vocal Soloists Fund appearances (April 6) Till Fellner • In memory of Flamilton Osgood (April 27) Till Fellner • Supported by the Flelen and Josef Zimbler Fund (April 28) Guest vocalists' • Supported by the Nathan R. Miller Family Guest Artists Fund appearances (May 5) If you would like to learn more about the opportunities to name a concert or guest artist's appearance, please contact Elizabeth Roberts, Campaign Director and Director of Individual Giving at (617) 638-9269 or [email protected]. WEEK 26 SUPPORTERS OF NAMED CONCERTS AND GUEST ARTIST APPEARANCES 97 Real people. Real heroes. From women who make waves as the first to fight for our country, to caregivers who make compassionate Life care their life’s mission, some of our Care, country’s greatest heroes live or work at Center of Stoneham Life Care Centers of America’s skilled nursing and rehabilitation facilities. It 781.662.2545 • LCCA.COM is our great honor to thank these true 25 Woodland Rd. • Stoneham, MA 02180 Joint Commission accredited heroes—our service women and men. Vee Donohue teacher at an orphanage, Naval |p lieutenant commander at Pearl f0sr Harbor, and resident at Life Care Center of Stoneham Assisted Livir, 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. Bressier and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager ■ H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager ■ Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager BOSTON POPS Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor BUSINESS OFFICE Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • 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 WEEK 26 ADMINISTRATION 99 BOSTON CULTURAL ICONS SERIES I True North Vibrant Living at North Hill Join North Hill in celebration of arts and culture with the Boston Cultural Icons Series, a closer look at the people, institutions and . history of The City on the Hill. THE SERIES CONTINUES WITH: The Kennedy Brothers Speak: Speeches that Defined a Generation with Professor Jason Edwards and Mary Anne Marsh Tuesday, May 29th (JFK’s 95th birthday) | 10am - Noon Coolidge Corner Theatre - Brookline, MA TO LEARN MORE ABOUT TRUE NORTH COURSES & EVENTS: Visit www.TrueNorthEvolution.org/Courses email RSVP(a)NorthHill.org or call 888-614-6383 NOR IN HILL INNOVATIVE LIVING F 865 Central Avenue, Needham, MA 02492 EVERYONE PLAYS THEIR PART While our world-class musicians take the stage, hundreds of people, like Front of House Manager Sid Guidiciannc, work behind-the-scenes to ensure every concert experience is memorable. This includes the Friends of the BSO, who help play their part to keep the music playing. Play your part Friends enjoy exclusive privileges including access to working rehearsals, advance ticket ordering, and opportunities to interact with BSO musicians. 617-638-9276 or bso.org/contribute friends on hi THE HIGGINSON SOCIETY OF THE BOSTON SYMPHONY ORCHESTRA J BOSTON SYMPHONY ORCHESTRA DEVELOPMENT Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds • 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, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data Coordinator • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Donor Acknowledgment Writer and Coordinator • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Erin Simmons, Major Gifts Coordinator • Benjamin Spalter, Annual Funds Coordinator, Friends Program • Thayer Surette, Corporate Giving Coordinator ■ Szeman Tse, Assistant Director of Development Research EDUCATION AND COMMUNITY ENGAGEMENT Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs FACILITIES C. Mark Cataudella, Director of Facilities symphony hall operations Christopher Hayden, 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 • Michael Maher, HVAC Technician 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 Ronald T. Brouker, 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 WEEK 26 ADMINISTRATION 101 * THE WHITE MOUNTAIN SCHOOL An intentionally small boarding and day school where students make the difference in the classroom, the community, and the world. We are what high school should be. • Average class size: 10 • AP courses in every discipline c M O (j • Individualized college counseling V1 • Learning Center support • Team & individual sports • Off-campus field courses • $15,000 sustainability scholarships U 603.444.2928, 26 www. whi temountain. org HANDEL AND HAYDN SOCIETY 2012-2013 198TH SEASON BACH MAGNIFICAT PURCELL THE INDIAN QUEEN Join the Handel and Haydn Oct 12 & 14, 2012 Jan 25, 2013 at NEC’s Jordan Hall Society and Artistic Director at Symphony Hall Jan 27, 2013 at Sanders Theatre Harry Christophers for an unforgettable season MOZART JUPITER HAYDN IN PARIS featuring H&H’s Period Nov 9 & 11, 2012 Feb 22 & 24, 2013 Instrument Orchestra and at Symphony Hall at Symphony Hall Chorus and a roster of acclaimed artists. HANDEL MESSIAH BEETHOVEN SYMPHONY NO. 7 Nov 30, Dec 1 & 2, 2012 Mar 15 & 17, 2013 at Symphony Hall at Symphony Hall SUBSCRIPTIONS ON SALE! handelandhaydn.org BACH CHRISTMAS ORATORIO VIVALDI VIRTUOSI 617 266 3605 Dec 13 & 16, 2012 Apr 5 & 7, 2013 at NEC’s Jordan Hall at NEC’s Jordan Hall HANDEL JEPHTHA Handel ' May 3 & 5, 2013 A ■ at Symphony Hall S O < 102 INFORMATION TECHNOLOGY Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist PUBLIC RELATIONS Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Caitlin Bayer, Subscription Representative • Susan Beaudry, Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Christina Malanga, Subscriptions Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships ■ Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard ■ Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant TANGLEWOOD MUSIC CENTER Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling WEEK 26 administration 103 From New England Conservatory. NEC alumni or faculty make up one half of the Boston Symphony Orchestra and we’re training the next generation of BSO players right now. This fruitful relationship goes back to the very beginning of both institutions. Henry Higginson recruited 19 NEC faculty to start the Boston Symphony Orchestra in 1881. Good move, Mr. Higginson. NEW ENGLAND CONSERVATORY necmusic.edu Boston Symphony Association of Volunteers EXECUTIVE COMMITTEE Chair, Aaron J. Nurick Chair-Elect and Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller Co-chairs, Boston Mary C. Gregorio ■ Ellen W. Mayo • Natalie Slater Co-Chairs, Tanglewood Roberta Cohn • Augusta Leibowitz • Alexandra Warshaw Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Ken Singer BOSTON PROJECT LEADS AND LIAISONS 2011-12 Cafe Flowers, Stephanie Henry and Kevin Montague ■ Chamber Music Series, Joan Carlton and Adele Sheinfield • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Membership Table/Hall Greeters, Elle Driska • Instrument Playground, Margaret Williams-DeCelles • Mailings, Mandy Loutrel • Newsletter, Judith Duffy • Recruitment/ Retention/Reward, Gerald Dreher ■ Symphony Shop, Karen Brown • Tour Guides, Richard Dixon Cive the gift of an ^ \ exciting musical experience! Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Cafe. To purchase, visit bso.org, the BOSTON « Symphony Hall Box Office, or call Tanglewood SymphonyCharge at 617-266-1200. WEEK 26 ADMINISTRATION 105 Symphony Hall Exit Plan MASSACHUSETTS AVENUE I c n z > l/i a> O z o oo ” y H >o O o z > < m J Z c m MASSACHUSETTS AVENUE HUNTINGTON AVENUE IN CASE OF EM Follow any lighted exit Do not use elevators. Walk, do not run. HIGGINSON ROOM 106 Symphony Hall Information For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor¬ mation about any of the orchestra's activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO's web site (bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail¬ able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro¬ gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638- 9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat WEEK 26 SYMPHONY HALL INFORMATION available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Symphony Garage, Prudential Center Garage, and Copley Place Garage offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal¬ cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot- Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances, including Open Rehearsals, through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383. <*» OLIVER WYMAN IM PACT THROUGH SPECIALIZATION Oliver Wyman is a leading global management consulting firm that combines deep industry knowledge with specialized expertise in strategy, operations, risk management, organizational transformation, and leadership development. Visit us at www.oliverwyman.com. ► MARSH & MCLENNAN COMPANIES Are you missing one or more teeth? If you are missing one or more teeth, then you are a candidate for a dental implant. Dental implants will allow you to smile, speak, and eat with confidence and comfort. At the Implant Dentistry Centre we offer Bicon SHORT® Implants, which most often avoid the need for bone grafting. 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