Boston Symphony Orchestra Summer 2015

summer 2015

boston symphony orchestra andris nelsons music director

Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com Tanglewood The Tanglewood Festival

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

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrates its 75th anniversary this summer, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit celebrates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conduc- Instrumental Fellows give a spontaneous tors, as well as a vast lunchtime concert on the Tanglewood grounds number of distin- in 1949 (Howard S. Babbitt, Jr./BSO Archives) guished composers and other visiting artists on the TMC faculty.

First page of the manuscript score of Randall BSO Music Director and TMC founder Serge Thompson’s “Alleluia,” which was composed Koussevitzky flanked by two of his conducting for the Opening Exercises of the Berkshire students—Leonard Bernstein (left) and Eleazar Music Center’s inaugural session in 1940 de Carvalho—who later became members of (BSO Archives) the faculty (Heinz Weissenstein, Whitestone Photo/BSO Archives)

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are permitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infrastructure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert and that during Shed concerts, children may play ball only behind the Visitor Center or near Ozawa Hall. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, all bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible rest- rooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $32 (front and boxes) and $22 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2015

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

First Violins Jason Horowitz* Violas Mickey Katz* Ronald G. and Ronni J. Stephen and Dorothy Weber Malcolm Lowe Casty chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Ala Jojatu* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity endowed in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Second Violins Cathy Basrak Associate Concertmaster Assistant Principal Adam Esbensen* Helen Horner McIntyre Haldan Martinson Anne Stoneman chair, Richard C. and Ellen E. chair, endowed in perpetuity Principal endowed in perpetuity Paine chair, endowed Carl Schoenhof Family in perpetuity Alexander Velinzon chair, endowed in perpetuity Wesley Collins Assistant Concertmaster Lois and Harlan Anderson Blaise Déjardin* Robert L. Beal, Enid L., Julianne Lee chair, endowed in perpetuity and Bruce A. Beal chair, Assistant Principal endowed in perpetuity Charlotte and Irving W. Robert Barnes Basses Rabb chair, endowed Elita Kang in perpetuity Michael Zaretsky Edwin Barker Principal Assistant Concertmaster Mark Ludwig* Edward and Bertha C. Rose Sheila Fiekowsky Harold D. Hodgkinson chair, endowed in perpetuity Shirley and J. Richard Rachel Fagerburg* chair, endowed in perpetuity Fennell chair, endowed Bo Youp Hwang in perpetuity Kazuko Matsusaka* Lawrence Wolfe Assistant Principal John and Dorothy Wilson Rebecca Gitter* chair, endowed in perpetuity Nicole Monahan Maria Nistazos Stata chair, David H. and Edith C. Daniel Getz* endowed in perpetuity Lucia Lin Howie chair, endowed Dorothy Q. and David B. in perpetuity Benjamin Levy Arnold, Jr., chair, endowed Cellos Leith Family chair, endowed in perpetuity Ronan Lefkowitz in perpetuity Vyacheslav Uritsky* Jules Eskin Dennis Roy Ikuko Mizuno Principal Ruth and Carl J. Shapiro Jennie Shames* Philip R. Allen chair, Joseph Hearne chair, endowed in perpetuity endowed in perpetuity Valeria Vilker James Orleans* Nancy Bracken* Kuchment* Martha Babcock Stephanie Morris Marryott Associate Principal Todd Seeber* and Franklin J. Marryott Tatiana Dimitriades* Vernon and Marion Alden Eleanor L. and Levin H. chair chair, endowed in perpetuity Campbell chair, endowed Si-Jing Huang* in perpetuity Aza Raykhtsaum* Victor Romanul* Sato Knudsen Catherine and Paul John Stovall* Bessie Pappas chair Mischa Nieland chair, Buttenwieser chair endowed in perpetuity Thomas Van Dyck* Wendy Putnam* Bonnie Bewick* Robert Bradford Newman Mihail Jojatu Mary B. Saltonstall chair, chair, endowed in perpetuity Sandra and David Bakalar endowed in perpetuity chair Xin Ding* James Cooke* Owen Young* Kristin and Roger Servison Glen Cherry* John F. Cogan, Jr., and chair Yuncong Zhang* Mary L. Cornille chair, Catherine French* endowed in perpetuity Donald C. and Ruth Brooks Heath chair, endowed in perpetuity Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange John Perkel Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Evelyn and C. Charles endowed in perpetuity Bass Trombone Associate Marran chair, endowed Conductor in perpetuity James Markey Contrabassoon John Moors Cabot chair, Marcelo Lehninger endowed in perpetuity Anna E. Finnerty chair, Oboes Gregg Henegar endowed in perpetuity Helen Rand Thayer chair John Ferrillo Tuba Principal Assistant Mildred B. Remis chair, Horns Mike Roylance Conductor endowed in perpetuity Principal James Sommerville Margaret and William C. Ken-David Masur Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity chair Edna S. Kalman chair, Personnel endowed in perpetuity Managers Keisuke Wakao Timpani Assistant Principal Richard Sebring Lynn G. Larsen Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, Bruce M. Creditor in perpetuity Congleton chair, endowed endowed in perpetuity Assistant Personnel in perpetuity Manager English Horn Rachel Childers Percussion John P. II and Nancy S. Stage Manager Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke John Demick in perpetuity chair, endowed in perpetuity Michael Winter Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Jason Snider Linde chair William R. Hudgins * participating in a system Principal Jonathan Menkis of rotated seating Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, ° on leave Tariot chair endowed in perpetuity § substituting Michael Wayne Matthew McKay Thomas Martin Trumpets Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, ° endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon Allegra Lilly §

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). He is the fifteenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from concert performances at Symphony Hall in the fall of 2014—was released earlier this season on BSO Classics. Also this season, he and the BSO, in collaboration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, following the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will con- tinue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a production by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 TMC faculty members Aaron Copland and Leonard Bernstein by William Steinberg. Seiji seated with Serge Koussevitzky during a Berkshire Music Center Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 10, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA; DAMIEN FRANCOEUR-KRZYZEK, piano Music of Poulenc and Dvoˇrák

Friday, July 10, 8:30pm 7 BOSTON SYMPHONY ORCHESTRA STÉPHANE DENÈVE conducting; CAMERON CARPENTER, organ Music of Barber, Poulenc, and Saint-Saëns

Saturday, July 11, 8:30pm 16 BOSTON SYMPHONY ORCHESTRA BRAMWELL TOVEY conducting; SONDRA RADVANOVSKY, BRANDON JOVANOVICH, BRYN TERFEL, JOHN DEL CARLO, and RYAN SPEEDO GREEN, vocal soloists; TANGLEWOOD FESTIVAL CHORUS; VOICES BOSTON Music of Verdi and Puccini’s “Tosca,” Act I

Sunday, July 12, 2:30pm 39 BOSTON SYMPHONY ORCHESTRA LUDOVIC MORLOT conducting; PINCHAS ZUKERMAN, violin Music of Adams, Mozart, and Dvoˇrák

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 10, are soprano Sondra Radvanovsky and conductor Ludovic Morlot.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

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

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer.

TANGLEWOODWEEK 2 TABLEOFCONTENTS 1 2015 Tanglewood

Prelude Concert Friday, July 10, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA JOHN FERRILLO and MARK MCEWEN, oboes WILLIAM R. HUDGINS and MICHAEL WAYNE, clarinets RICHARD SVOBODA and SUZANNE NELSEN, bassoons GREGG HENEGAR, contrabassoon RICHARD SEBRING, JASON SNIDER, and MICHAEL WINTER, horns OWEN YOUNG, cello EDWIN BARKER, double bass with guest pianist DAMIEN FRANCOEUR-KRZYZEK

POULENC Trio for oboe, bassoon, and piano Presto Andante Très vif Messrs. FERRILLO, SVOBODA, and FRANCOEUR-KRZYZEK

DVORˇ ÁK Serenade in D minor for winds, Opus 44 Moderato, quasi Marcia Tempo di Menuetto; Trio Andante con moto Finale: Allegro molto

Messrs. FERRILLO and MCEWEN; Messrs. HUDGINS and WAYNE; Mr. SVOBODA and Ms. NELSEN; Mr. HENEGAR; Messrs. YOUNG and BARKER

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

The early music of Francis Poulenc (1899-1963) is so filled with the spirit of the boulevard and the café-concert that one might be tempted to regard him as a composer congenitally unable to take anything seriously. Largely self-taught, he compounded his musical style from a pharmacopeia that contained large doses of his idols— Stravinsky, Debussy, and Chabrier plus, among earlier composers, Mozart and Schumann. The three sparkling and sassy earlier chamber sonatas give little or no inkling of the unquiet darkness in his nature, given to anxiety and doubt covered with a bright facade. The Trio for oboe, bassoon, and piano of 1926 may be the earliest work that points to this pensive side of the composer, which was to result eventually in such remarkable achievements as the large unaccompanied choral work La Figure humaine, a strong attack on the Nazi control of France, as well as his opera Dialogues of the Carmelites and the late works for chorus and orchestra, Stabat mater and Gloria. But this aspect of Poulenc is limited to the deeply moving central movement of the present Trio. The opening movement fools us for a moment with a slow introduction of a mildly Stravinskian hieratic character that introduces each of the three instruments in a serious mood before they reveal that this was mock- seriousness and that they can no longer restrain their good humor, though every now and then they try to be sober for just a moment. The final rondo skips along in unabashed high spirits with delicious slips of key and joyful chatter. In July 1874, Antonín Dvoˇrák (1841-1904) submitted fifteen works, including his Third and Fourth symphonies, into consideration for an Austrian state stipend for “young, poor, and talented painters, sculptors, and musicians, in the Austrian half of the [Hapsburg] Empire.” The judges included Vienna State Opera conductor Johann Herbeck, the critic Eduard Hanslick, and Johannes Brahms. Dvoˇrák was one of the winners, as he would be again in 1876 and 1877, the year Brahms really set him on his way by championing him to the publisher Nicolaus Simrock, encouraging the latter to issue Dvoˇrák’s Moravian Duets for soprano and contralto. The Moravian Duets, Opus 32, and the Slavonic Dances, Opus 46 (the latter specifically commissioned by Simrock), were both published in 1878, and a quick succession of further publications, followed by performances throughout Europe and as far afield as Cincinnati and New York, began to earn Dvoˇrák an international reputation. Published originally by Simrock (“all rights reserved”), the D minor Serenade for Winds—actually for two oboes, two clarinets, two bassoons, contrabassoon, and three horns, with cello and double bass providing a low-string foundation—dates from this period. Dvoˇrák had already composed a Serenade for String Orchestra in May 1875. The companion work for winds was written between January 4 and 18, 1878, and was dedicated to the German critic Louis Ehlert. The first performance was given on November 17, 1878, in Prague, by members of the orchestra of the Provisional Theater under the composer’s direction. For a near relative in the orchestral reper-

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

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 3 tory to Dvoˇrák’s Wind Serenade one might look to Brahms’s Serenade No. 2 in A, Opus 16, written for winds and strings, but without violins. Though he composed it originally in 1858-59, Brahms published a revised version in 1875, and this was pre- sumably known to Dvoˇrák. (Brahms’s Serenade No. 1 in D, much larger in scale, was written in 1857-58, just before Opus 16; both these works represent examples of Brahms’s orchestral output dating from long before he finally produced a completed symphony in 1876.) Perhaps Dvoˇrák’s omission of flutes from his own Opus 44 Serenade is a bow to the dark-hued orchestral palette of Brahms’s A major work in that same genre. The opening of Dvoˇrák’s piece harks back to the 18th-century idea of beginning and ending a serenade with a march. (Sometimes the performers actually entered while performing the march music, and exited to it afterwards.) Dvoˇrák’s tone is one of (mock?) solemnity, the D minor of the march proper being interrupted by a more pastoral, lively section in F major. The second-movement “Tempo di Menuetto” reminds us that the formal dance of Mozart’s day, with its clearly audible one-two- three, one-two-three rhythm, had gone through changes, from the more bumptious minuets of late Haydn to the energetic Beethovenian scherzo to the graceful sym-

4 phonic intermezzi of Brahms (consider, e.g., the fourth-movement “Quasi menuetto” of Brahms’s A major Serenade). Dvoˇrák here gives us outdoor music, a pastoral suggesting his beloved Bohemian country, with birds, babbling brook, and, perhaps, a chase through the woods in the Trio section of the movement. The Andante is the lyrical and emotional center of the work, accounting for nearly one-third the Serenade’s total length. The central climax is set in even greater relief by the general sense of breadth and relaxation that characterizes the rest of the movement. Likewise, the rhythmically dramatic undercurrent of the Andante’s climax takes its time before giving way again to the repose of the opening. The finale is jaunty and good-natured, thanks largely to Dvoˇrák’s lively choice of rhythms and the color contrasts of the different instruments. Following a more lyrical central episode, a dramatic buildup brings an unexpected return of the first-movement march material, which in turn gives way to the again-jovial closing pages.

Notes by STEVEN LEDBETTER (Poulenc) and MARC MANDEL (Dvoˇrák) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

GUEST ARTIST

Damien Francoeur-Krzyzek’s performing and teaching career incorporates his unique and diverse background as a pianist, classical singer, opera coach, and avid linguist. A faculty member at New England Conservatory since 2007, he also teaches at Boston Conservatory, serves on the music staff of Opera Theatre of Saint Louis, and maintains a busy performing schedule and coaching studio with instrumentalists and singers throughout the greater Boston area. Recent and upcoming performances include collaborations with soprano Lisa Saffer, baritone Michael Meraw, mezzo-soprano Erica Washburn, violinists Nicholas Kitchen and Elmira Darvarova, cellist Yeesun Kim, violists Kim Kashkashian and Mai Motobuchi, and saxophonist Kenneth Radnofsky. In February 2014, Messrs. Francoeur-Krzyzek and Radnofsky performed the world premiere of David Amram’s Greenwich Village Portraits in New York City; they perform the German premiere of this work in Karlsruhe this month. In October 2014, Mr. Francoeur-Krzyzek premiered Andrew List’s Journey Toward the Eternal Flame for piano, oboe, and bassoon with BSO members John Ferrillo and Richard Svoboda as part of the Boston Woodwind Society’s Double Reed Day. As a rehearsal pianist and opera coach, Mr. Francoeur-Krzyzek has played for more than thirty productions for Opera Theatre of Saint Louis, Boston Lyric Opera, and Opera Colorado. During the summer of 2014 he played the world premiere of Ricky Ian Gordon and Royce Vavrek’s 27 at Opera Theatre of Saint Louis, with mezzo- soprano Stephanie Blythe, soprano Elizabeth Futral, and members of the St. Louis Symphony under the baton of Michael Christie.

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 5 The Jean Thaxter Brett Memorial Concert Friday, July 10, 2015 The Tanglewood concert on Friday evening is supported by a generous gift from Great Benefactors Jan Brett and Joseph Hearne. The concert is named in memory of Jan’s mother, Jean Thaxter Brett. A retired nursery school teacher, Jean taught for twenty-six years; she also founded and ran the Lazy Eye Clinic for the Hingham Visiting Nurse Association for twenty-six years. A lifelong Hingham resident, Jean worked to preserve her hometown’s character and beauty, helping to pioneer recy- cling in Hingham and secure land for conservation. She was a member of the Second Parish Church and choir in Hingham, the Ladies Committee for the Museum of Fine Arts, Colonial Dames Society, and Hingham Yacht Club. As a young child, BSO Life Trustee Jan Brett would often attend the Symphony’s youth concerts with her mother. Jan was elevated to Life Trustee in 2014, after serving as an Overseer from 1994 to 1999 and a Trustee from 1999 to 2014. Her husband, Joe Hearne, is the player with the longest term of service currently in the Boston Symphony Orchestra. In 2012, Joe celebrated his 50th anniversary with the orchestra as a double bassist, having joined the BSO bass section in 1962 fresh out of Juilliard. For Jan and Joe, the BSO is tightly woven into the fabric of their lives together in Boston and the Berkshires, and they support the organization on many levels. Jan and Joe have supported the BSO’s educational programs in addition to endowing a full fellowship for a bass player at the Tanglewood Music Center and naming a BSO bass chair. They provide ongoing support through the Annual Funds, and in 2006 they served as chairs of the highly successful Opening Night at Tanglewood fundraiser. Jan and Joe are members of the Koussevitzky Society at the Encore level, as well as members of the Walter Piston Society. With more than 39 million books in print, Jan is one of the nation’s foremost authors and illustrators of children’s books. She has published more than thirty works in as many years, including The Hat; The Three Snow Bears; Gingerbread Baby; The Mitten, which celebrated its 20th anniversary in 2009, and The Animals’ Santa, which was released in 2014. In 2005, Jan received the Boston Public Library’s Lifetime Achievement Award. Kevin Toler

6 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 10, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT

STÉPHANE DENÈVE conducting

Please note that the timpanist in tonight’s performance of Poulenc’s Concerto for Organ, String Orchestra, and Timpani will be BSO percussionist/assistant timpanist DANIEL BAUCH.

POULENC Concerto for Organ, String Orchestra, and Timpani (in one movement) CAMERON CARPENTER, organ DANIEL BAUCH, timpani

TANGLEWOODWEEK 2 INSERT 1 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 10, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT

STÉPHANE DENÈVE conducting

BARBER Adagio for Strings

POULENC Concerto for Organ, String Orchestra, and Timpani (in one movement) CAMERON CARPENTER, organ TIMOTHY GENIS, timpani

{Intermission}

SAINT-SAËNS Symphony No. 3 in C minor, Opus 78, “Organ Symphony” Adagio—Allegro moderato—Poco adagio Allegro moderato—Presto—Maestoso—Allegro CAMERON CARPENTER

Please note that soon after tonight’s Boston Symphony concert, organist Cameron Carpenter will give a short recital of virtuoso solo pieces on the stage of the Koussevitzky Music Shed, featuring the Marshall & Ogletree touring organ used in the works by Poulenc and Saint-Saëns being performed by the orchestra this evening.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 2 FRIDAYPROGRAM 7 NOTES ON THE PROGRAM

Samuel Barber (1910-1981) Adagio for Strings First performance: November 5, 1938, NBC Symphony Orchestra, Arturo Toscanini cond., the piece having originated as the slow movement of Barber’s String Quartet, Opus 11, composed in 1936 and premiered that year in Rome. First BSO performance: February 27, 1953, Charles Munch cond. First Tanglewood performance: August 9, 1953, Charles Munch cond. Most recent Tanglewood performance by the BSO: July 15, 1983, Eugene Ormandy cond. (also the BSO’s most recent performance of the piece until now). In the spring of 1935, the young Samuel Barber, having finished his studies at Curtis and already making his mark with works that had been broadcast on the radio and accepted for publication by the distinguished house of G. Schirmer, received the Prix de Rome of the American Academy in Rome, for a year of study in Europe. During his first winter abroad he composed his First Symphony. By the end of spring 1936 he was thinking of a string quartet, particularly for the Curtis Quartet, consisting of friends from his conservatory days, who, he hoped, would give a European tour and play the premiere. In May he joined his lifelong companion, composer Gian Carlo Menotti, and the couple took a house in the highly picturesque environs of St. Wolfgang, a little town about an hour from Salzburg, nestled between glorious mountains and a beautiful lake. There he began seriously to work on his quartet. But it was slow going. He was painfully conscious of the great tradition of string quartet writing that went all the way back to Haydn. He wrote his teacher Rosario Scalero, exclaiming at the difficulty of the string quartet medium. “It seems to me that because we have so assiduously forced our personalities on Music—on Music, who never asked for them!—we have lost elegance; and if we cannot recapture elegance, the quartet-form has escaped us forever.” But by September 19 he wrote to the cellist of the Curtis Quartet, “I have just finished the slow movement of my quartet today—it is a knock-out!” And that enthusiastic reaction is, if anything, an understatement, when we realize that the slow movement of the quartet was to become world-famous in a string orchestra version as “Barber’s Adagio for Strings.” In the end, he barely completed the finale of the quartet in time for the first performance, in Rome on December 14, 1936, at the Villa Aurelia. Feeling that he had finished the work in too much haste, he reworked it for a performance at the Library of Congress on April 20, 1937; but then he decided to rewrite the finale altogether for the Curtis Quartet’s tour the following spring. Still later, before the Stu Rosner

8 work was published, in 1943, Barber wrote a new ending to the first movement and transferred the original ending to the very close of the piece, thus bringing back a reference to the opening at the very end. (Barber’s String Quartet will be performed by members of the BSO in next week’s July 17 Friday Prelude concert.) But it is the famous Adagio (which shares the opus number 11 with the complete quartet) that concerns us here. Barber extracted the slow movement and arranged it for string orchestra for Arturo Toscanini, who had already shown interest in the composer’s Opus 12 Essay for Orchestra. Toscanini gave the premieres of both the Adagio and the Essay in his NBC Symphony broadcast of November 5, 1938. Since then, the Adagio has tended to serve as a musical commemoration on countless solemn occasions—though it surely needs to be recognized above all for its own intrinsic qualities. The music grows in a serenely elegiac mood out of silence, climbs gradually to an emphatic climax, then slowly dies away again. As Michael Steinberg once wrote: “In these few pages, pages of a confident, easy, and utterly personal concord of a solemnly archaic polyphony and melancholy Romantic passion at high tide, Barber—at twenty-six—created something that has that rare quality of seeming always to have been there.”

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Francis Poulenc (1899-1963) Concerto in G minor for Organ, Strings, and Timpani First performance: December 16, 1938, Nadia Boulanger cond., Maurice Duruflé, organ, in the Paris salon of the Princesse Edmonde de Polignac, the public premiere following on June 21, 1939, Salle Gaveau, Paris, Roger Désormière cond., Duruflé, organ. First BSO performance: October 29, 1948, Richard Burgin cond., E. Power Biggs, organ. This is the first Tanglewood performance by the BSO. Poulenc was in the habit of noting dates at the end of his published scores, and on the last page of the score of his Concerto for Organ, String Orchestra, and Timpani we read: “Noizay, April 1938—Anost, August 1938,” suggesting that this work occupied him for only four months in his thirty-eighth year. In fact its gestation was long and difﬁcult, and the composer admitted that it was one of the hardest pieces he ever had to write. This was no doubt because he had never written for the organ before, and although there were a few pieces for organ and strings in circulation (Handel’s concertos, for example), the addition of timpani to the mix creates a completely new ambience for which there was no precedent whatever. In addition, Poulenc had decided to avoid the traditional three-movement or three-part concerto form and develop a looser structure related to the 18th-century Fantaisie, a form without standard guidelines of any sort. Two remarkable women, both of whom contributed immensely to French music between the wars, were at the heart of the concerto’s origin. The ﬁrst was the Princess Edmond de Polignac, born Winnaretta Singer, heiress to the sewing-machine fortune. Born in America and brought up in England, she made Paris her home, and by marrying the Prince de Polignac (a modest composer) she supplied her husband with a fortune and herself with a title. After her husband’s death in 1901, the Princess replaced their fashionable residence in the XVIe Arrondissement with an enormous

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 9 Greek-revival mansion containing a sizeable concert room in which she had an organ installed by the celebrated builders Cavaillé-Coll. She established a pattern of commissioning works by young composers for performance at her home; the long list of composers who benefited from her largesse includes Satie, Stravinsky, Milhaud, Falla, Tailleferre, Sauguet, Françaix, Poulenc, and Weill. At its height, between the wars, the Princess’s salon was where the most important new French music of any kind was to be heard. The other godmother to the Poulenc concerto was Nadia Boulanger, who pioneered the revival of early music, taught several generations of young composers, and forced the acceptance of women as conductors upon a resistant world. She became a close friend of the Princess and in 1933 started conducting concerts in the salon. The following year the Princess suggested to Nadia that the very young Jean Françaix might write an organ concerto simple enough for her, Winnaretta, to play. Françaix, who had a film score to write, suggested that Poulenc be asked instead (or as well), but the latter, although he accepted the commission, found it exceedingly difficult to do. He had already composed a concerto (for two pianos) for the Princess in 1932, which he had played with Jacques Février at the Venice Biennale, where she took obvious pride in her patronage. In the case of the new concerto, three years passed in which Nadia was trying to bring it to the center of Poulenc’s attention, but early in 1938 it was still not ready. His Litanies à la vierge noire, a film score, the Mass in G, and a series of fine songs all somehow got in the way. By the time Poulenc completed the work, making a special effort in the summer of 1938, it was no longer intended for the Princess as its solo performer. When it was finally heard in the Hôtel Singer- Polignac in December 1938, it was Maurice Duruflé who played the solo part with Nadia Boulanger conducting, and it was again Duruflé who gave the first public performance in Paris six months later, this time under the baton of Roger Désormière (who in Poulenc’s opinion lacked Nadia’s warmth and lyricism). The score acknowledges Duruflé’s help with the registration of the solo part and is dedicated to the Princess. The long gestation of the concerto may be in part attributed to the shift in Poulenc’s world view that occurred at that time. His early music earned him prodigious success just following the end of World War I, and of all the members of Les Six he was the one who most clearly personified the spirit of clowning and frivolity for which they became quickly notorious. His music did not exactly lack seriousness, but its wit, its tunefulness, and its sprightly rhythms seemed to cast him as the ideal composer for Le Jazz-Age. Through his exploration of modern poetry and his reattachment to the Catholic church, a new strain of religious devotion and of poetic depth can be heard. He was aware that the Organ Concerto would probably be performed in churches, and its devotional tone belongs there. It was in keeping with his quest for a deeper spiritual language that he created for himself the obstacles of instrumentation and form that called for a special creative effort to overcome. The clown’s grin is nowhere to be seen. Bach’s organ fantasias provide the closest model on which Poulenc might have drawn. Bach-like phrases are heard at intervals throughout; Stravinsky’s spiky style is also to be heard (Bach and Stravinsky were Nadia Boulanger’s twin gods). Poulenc’s harmonic palette ranges from forthright common chords (major and minor, offered without shame or embarrassment) to dense coagulations of notes that sound harsh on the organ yet sweetened by the strings. The organ, of course, can tinkle or roar; it can hold a melody over string accompaniment or itself provide a chordal background for the other instruments. In the context of 20th-century French organ music, especially that of Messiaen, the solo writing does not approach the virtuosity which the

10 instrument can accommodate, but remains more narrowly within the Bach orbit. If Poulenc was thinking of a normal orchestra, just omitting wind instruments on the grounds that the organ is itself a battery of wind instruments, then the timpani would be a normal remnant. But the timpani adds such a striking tinta to the ensemble that a normal orchestra never even comes to mind. Poulenc writes for the timpani as a fully chromatic instrument with a range of half an octave, leaving the re- tunings and the choice of drums to the player. But like the organ part its purpose is not virtuoso display. The piece is perhaps best understood as an Introduction and five principal sections, respectively fast-slow-fast-slow-fast, with many suggestions of themes and figures borrowed from one section to another. The Introduction offers an imperious statement in a solid G minor from the organ with a mild-mannered response. The strings suggest a lamentation, and the music remains tentative until a decisive Allegro sets up a bright forward motion, the first main section. This reaches a brilliant G major ending and gives way to another Andante, perhaps to be seen as a slow movement in which the music flows modestly along, mostly subdued. This too rises to a brilliant ending, this time with huge A minor and A major chords on the organ. The third episode is speedy and agitated, and the fourth is calm. The fifth is a reworking of the first Allegro, followed by the return of the opening bars. The rest is a sublimely peaceful coda in which a solo viola and then a solo cello join the organ’s chords against a gently rocking figure in the rest of the strings and a long held G from the organ pedalboard.

HUGH MACDONALD A frequent guest annotator for the BSO, Hugh Macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis, and has written extensively on music from Mozart to Shostakovich.

Camille Saint-Saëns (1835-1921) Symphony No. 3 in C minor, Opus 37, “Organ Symphony” First performance: May 19, 1886, St. James Hall, London, Royal Philharmonic Society, Saint-Saëns cond., the first Paris performance following on January 9, 1887, at a concert of the Société des Concerts, Saint-Saëns cond. First BSO performance: February 15, 1901, Wilhelm Gericke cond., Wallace Goodrich, organ. First Tanglewood performance: August 4, 1951, Charles Munch cond., E. Power Biggs, organ. Most recent Tanglewood performance: July 20, 1990, Pascal Verrot cond., James David Christie, organ. Most recent BSO performances: March 2013, Symphony Hall, Christoph Eschenbach cond., Olivier Latry, organ. In the age of Haydn and Beethoven there were relatively few French symphonies composed; in the following period Berlioz’s symphonies are sui generis. But in the 1850s the younger French composers all wrote symphonies of striking freshness, and after 1870, when the political humiliation of Prussian victory spurred the French to take up arms in a new cultural conflict, the French strove magnificently to build a strong non-operatic repertoire. One composer after another set his hand to the task of writing symphonies: Bizet in 1871, Messager in 1877, Fauré in 1884, Lalo in 1885, d’Indy in 1886, Franck in 1887. Camille Saint-Saëns wrote what we know as his Symphony No. 3 in 1886. He had been writing prodigious quantities of music in every genre for the previous thirty years, and although he had already written five symphonies, the last one

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 11 12 dated back to 1859. Only two of those five were acknowledged, which gives the present symphony its number “3.” Although widely known as Saint-Saëns’s Organ Symphony, and although the composer sometimes played the organ part himself, he did not in the least intend the work to be an organ concerto. The organ is in any case silent during the greater part of the work; it is merely a bold addition to what in 1886 would have been regarded as a large symphony orchestra, like the occasional appearance of the piano in the second movement, adding an extra—and always startling—color to the orchestral palette. Saint-Saëns divides the symphony into two movements rather than the traditional four, although the outlines of slow movement and scherzo are easily recognized in their proper place. It was commissioned by Francesco Berger, secretary of the Royal Philharmonic Society, when Saint-Saëns was on a visit to London toward the end of 1885. The symphony took shape on a tour of Germany, which may account for its unmistakable homage to the giants of the German symphony, Beethoven and Schubert. On his return to Paris he played it through to Liszt, who had done more than anyone to further Saint-Saëns’s career in its early stages. Liszt, alas, was very weak and had only a few months to live, so that the symphony’s dedication, when it was published, was not “à Franz Liszt,” as Saint-Saëns had intended, but “à la mémoire de Franz Liszt.” The first performance took place in London in May 1886. In the first half of the concert Saint-Saëns played Beethoven’s Fourth Concerto with Arthur Sullivan conducting. The Adagio introduction features broken phrases and plaintive sighs from oboe, English horn, and bassoon. The Allegro strongly suggests Schubert’s Unfinished Symphony, the strings’ restless accompanying figure an important theme that will recur in many guises: later in the movement, as the scherzo theme at the start of the second movement, and in the famous chorale in the last part of the symphony. A fragmentary transformation of the same theme acts as a subsidiary theme in a sonata process that is shorter than usual since the “slow movement” has been folded into the first movement. The organ is heard for the first time in the “slow movement,” laying down soft chords in D-flat major as background to a rich cantabile theme in the strings. The second statement of this theme calls on the unlikely grouping of clarinet, two horns, and two trombones spread across three octaves. The double basses, pizzicato, throw in a memory of the subsidiary theme before a reprise of the main tune and a warm, serene close. The second movement begins with a scherzo, now back in C minor, and still dark in color. The equivalent of a Trio section is a brilliant Presto in the major key to which the piano contributes an extraordinary series of both-hand scales. This eventually gives way to the finale proper (Maestoso), heralded by a huge C major chord on the organ and a new version of the main theme now taking on the character of a chorale. The pianist is joined by a partner, the duet tinkling in the upper register. The splen- did close leaves the impression of a grandiose and triumphant symphony, although many of the earlier pages suggest a more questioning and searching character. Saint-Saëns knew that most of his numberless compositions had little future to look forward to, but this was a work he had put his heart into, and which he deeply loved. “I have given it all I had to give. What I have done I shall never do again.”

From notes by HUGH MACDONALD

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 13 Guest Artists Stéphane Denève Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and principal guest conductor of the Philadelphia Orchestra; in September 2015 he will become chief conductor of the Brussels Philharmonic and director of its Centre for Future Orchestral Repertoire (CffOR). From 2005 to 2012 he was music director of the Royal Scottish National Orchestra (RSNO). Recognized internationally for the exceptional quality of his performances and programming, Mr. Denève regularly appears at major concert venues with the world’s leading orchestras and soloists. He has a special affinity for the music of his native France and is a passionate advocate for new music. Recent European engagements have included appearances with the Royal Concertgebouw Orches- tra, Bavarian Radio Symphony, Munich Philharmonic, Vienna Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, London Symphony Orchestra, Philharmonia Orchestra, Deutsches Symphonie-Orchester Berlin, and Swedish Radio Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with which he is a frequent guest both in Boston and at Tanglewood, where he conducts both the BSO and the Tanglewood Music Center Orchestra. He also appears regularly with the Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, and San Francisco Symphony. He made his New York Philharmonic debut in February 2015. Mr. Denève enjoys close relationships with many of the world’s leading solo artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Yo-Yo Ma, Leonidas Kavakos, Frank Peter Zimmermann, Nikolaj Znaider, Gil Shaham, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, Vadim Repin, and Natalie Dessay. In the field of opera, he has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Saito Kinen Festival, Gran Teatro de Liceu, Netherlands Opera, La Monnaie in Brussels, and at Opéra National de Paris. As a recording artist, he has won critical acclaim for his recordings of the works of Poulenc, Debussy, Roussel, Franck, and Guillaume Connesson. A two-time winner of the Diapason d’Or de l’an- née, he was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate of and prizewinner at the Paris Conservatoire, Stéphane Denève worked closely in

14 his early career with Sir Georg Solti, Georges Prêtre, and Seiji Ozawa. Committed to inspiring the next generation of musicians and listeners, he works regularly with young people in the programs of the Tanglewood Music Center and the New World Symphony. For further information, please visit www.stephanedeneve.com. Stéphane Denève made his Boston Symphony Orchestra debut in April 2011 and his Tanglewood debut in August 2012. At Tanglewood last summer he led two concerts with the BSO and an all- Berlioz program with the Tanglewood Music Center Orchestra, as well as Tchaikovsky’s 1812 Overture with the combined forces of the BSO and TMCO to conclude the gala Tanglewood on Parade concert. His most recent subscription appearances with the BSO were this past February, when he led a program of Stravinsky, Prokofiev, Milhaud, and Poulenc.

Cameron Carpenter Making his Boston Symphony Orchestra and Tanglewood debuts this evening, Cameron Carpenter is smashing the stereotypes of organists and organ music, all the while gen- erating international acclaim and controversy unprecedented in his field. Mr. Carpenter’s repertoire—ranging from the complete works of J.S. Bach to film scores, his own original compositions, and hundreds of transcriptions and arrangements—is probably the largest and most diverse of any organist. He is the first “concert organist” in history to prefer the digital organ to the pipe organ, and to champion the digital organ as the future of the instrument. In 2014 he launched his International Touring Organ—a monumental cross-genre digital organ of his own design, and built by Marshall & Ogletree—in extensive tours in Europe and the United States. His Sony Music debut album, “If You Could Read My Mind,” entered Billboard’s Traditional Classical chart at No. 1 upon its U.S. release. A former child prodigy, Cameron Carpenter trained at the American Boychoir School and the North Carolina School of the Arts; he has two degrees from the Juilliard School. While at Juilliard he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, chorus, and Ondes Martenot; his first substantial works for solo organ, and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann, and others. In 2006 he began his worldwide organ concert tours, making debuts at venues including the Royal Albert Hall, Leipzig Gewandhaus, Melbourne Town Hall, Moscow’s Tchaikovsky Hall, Davies Hall in San Francisco, and many others. His first album for Telarc, the Grammy-nominated “Revolutionary” (2008), was followed in 2010 by the critically acclaimed full-length DVD and CD “Cameron Live!” Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Opus 1 (2010). His first major work for organ and orchestra, The Scandal, Opus 3, was commissioned by the Cologne Philharmonie and premiered on New Year’s Day 2011 by the Deutsche Kammerphilharmonie under Alexander Shelley. He holds the 2012 Leonard Bernstein Award, is the first solo organist ever nominated for a Grammy Award for a solo album, and has appeared with many of the world’s great orchestras; he has spoken and debated at think-tanks and conferences including TED, IdeaCity, The Entertainment Gathering, and many more. With combined millions of hits on YouTube and numerous television, radio, and press features including CNN’s “The Next List,” “CBS Sunday Morning,” BBC Radio 3, ARD, ZDF, NDR Kultur, the New York Times, New Yorker, Wall Street Journal, and many others, he is the world’s most visible organist. For more information please visit cameroncarpenter.com.

TANGLEWOODWEEK 2 GUESTARTISTS 15 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Saturday, July 11, 8:30pm THE ALLISON G. AND WILLIAM F. ACHTMEYER CONCERT

BRAMWELL TOVEY conducting

VERDI Overture to “La forza del destino”

“Stabat Mater” TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 20.

“Ella giammai m’amò” from “Don Carlo” “Ehi! paggio!...L’onore” (Honor Monologue) from “Falstaff” BRYN TERFEL, bass-baritone

Texts are on pages 22 and 23, respectively.

{Intermission}

Poster by set designer Adolfo Hohenstein for Puccini’s “Tosca”

16 PUCCINI “Tosca,” Act I SONDRA RADVANOVSKY, soprano (Tosca) BRANDON JOVANOVICH, tenor (Cavaradossi) BRYN TERFEL, baritone (Scarpia) JOHN DEL CARLO, bass-baritone (Sacristan) RYAN SPEEDO GREEN, bass (Angelotti) TFC member RYAN CASPERSON, tenor (Spoletta) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor VOICES BOSTON, ANDY ICOCHEA ICOCHEA, conductor

A summary of the plot is on page 24.

Ken-David Masur, assistant conductor Gordon Gerrard, rehearsal pianist

SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Erin Turner, supertitles technician John Geller, supertitles caller

Please note that tenor Gwyn Hughes Jones is unable to be at Tanglewood this evening due to an unanticipated visa-related problem. We are fortunate that Brandon Jovanovich was available to appear in his place at very short notice.

Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation.

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

TANGLEWOODWEEK 2 SATURDAYPROGRAM 17 The Allison G. and William F. Achtmeyer Concert Saturday, July 11, 2015 The performance on Saturday evening is supported by a generous gift from Great Benefactors Allison G. and William F. Achtmeyer. A Tanglewood patron for more than twenty years and BSO subscriber for thirty years, Bill served on the BSO Board of Overseers from 2005 to 2010, when he was elected to the Board of Trustees. Bill currently serves as Chair of the Board of Trustees and Co-Chair of the Beyond Measure Campaign. He previously served as a Vice-Chair of the Board of Trustees from 2013 to 2014. In addition to attending Symphony performances, Bill and Alli regularly attend Holiday Pops and Tanglewood performances. They have served annually on the benefactor committee for Opening Night at Symphony since the 2011-12 season, including as chairs of the Symphony Gala last season. Bill has also been involved with BSO corporate events for many years, and was co-chair for A Company Christmas at Pops in 2009 and 2010. Bill has served on many board committees over the years, including as Chair of the Strategic Planning Committee and a member of the Executive, Leadership Gifts, and Overseers Nominating committees. Bill and Alli have generously supported many initiatives at the BSO, including the Symphony Hall Forever Fund, Immediate Impact Fund, Symphony and Tanglewood Annual Funds, Opening Nights at Symphony and Tanglewood, and BSO corporate events. Bill is the founder and senior managing director of Parthenon/Ernst & Young LLP. He was the chairman and managing partner of The Parthenon Group LLC, a leading strategic advisory firm which merged with Ernst & Young in September 2014. Bill has served on the boards of numerous non-profit organizations, including the Tuck School of Business at Dartmouth College, Belmont Hill School, Handel and Haydn Society, Massachusetts Society for the Prevention of Cruelty to Children, Tenacity, and the Museum of Fine Arts, Boston, among others. Alli, who is the owner of StyleAlli Consulting, is a board member of the Isabella Stewart Gardner Museum, Friends of the Public Garden, and UNICEF. William Mercer

18 NOTES ON THE PROGRAM

Giuseppe Verdi (1813-1901) Overture to “La forza del destino” “Stabat Mater” “Ella giammai m’amò” from “Don Carlo” “Ehi! paggio!...L’onore” (Honor Monologue) from “Falstaff,” Act I Giuseppe Verdi composed most of his twenty-eight operas between 1842 and 1858, a period he referred to as “the years in the galley,” meaning the unforgiving and exacting network of Italian theaters, impresarios, and publishers that required composers to churn out operas for a public perpetually in demand of something new. By 1845, Verdi was exhausted and confided his unhappy state of mind in his letter of April 12 to Giuseppe Demaldè: “[I] am utterly indifferent to everything. I cannot wait for these next three years to pass. I have to write six operas [likely Alzira, Attila, Macbeth, I masnadieri, Il corsaro, and La battaglia di Legnano] then addio to everything.” He did manage to slow down following the premiere of Un ballo in maschera (1859), but retirement to his estate in Sant’Agata near Busseto was still a distant dream. He was yet to produce the works that many consider among his best and boldest: La forza del destino, Don Carlos, Aida, the Messa da Requiem, Otello, and Falstaff, as well as a number of revisions, including the 1881 version of Simon Boccanegra. La forza del destino premiered on November 22, 1862, in St. Petersburg, Russia. The libretto was written by Verdi’s longtime collaborator, Francesco Maria Piave, who had provided texts for Macbeth, Rigoletto, La traviata, and more. Verdi revised the opera in 1869 (the now definitive version), changing the ending and adding the thematic prelude that will be performed this evening. The overture comprises a series of connected sections, each introducing a new theme, but also building on the last: a fanfare articulated by brass and bassoon; an Allegro agitato e presto in which lower strings offer an unsettling figuration with a characteristic triplet; a dance-like Andantino featuring solos in the upper winds; an Andante mosso that pre- views one of the heroine Leonora’s most famous melodies; and an Allegro brillante that builds speed and intensity to an exciting conclusion. In 1889, at the same time that he began Falstaff, Verdi became intrigued by a challenge posed in the Gazetta musicale di Milano—a scala enigmata (“puzzle scale”) presented as the basis for a potential composition. His response to the bait was a small piece for unaccompanied soprano, alto, tenor, and bass, an Ave Maria that became the first composition of a group of initially unrelated pieces published together in 1898 as the Quattro pezzi sacri (Four Sacred Pieces), the composer’s final works. As a group they share in common religious or quasi-religious texts: Ave Maria, Stabat Mater, Laudi alla Vergine Maria, and Te Deum. The Stabat Mater is a medieval hymn for Mary, standing grief-stricken at the foot of the cross. Verdi set the text for four-voiced chorus and a large orchestra that includes a classical ensemble plus bass clarinet, English horn, four trombones, bass drum, and harp. The piece opens with sustained open fifths in strings, horns, and bassoons, as the unison chorus articulates the opening phrase, “Stabat mater dolorosa/juxta crucem lacrymosa” (“At the cross stood the mournful Mother weeping”). Verdi’s expressive marking, unusual for the opening of a piece, is smorzando, a gradual slowing down and softening of volume to the end of the phrase.

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 19 Stabat Mater Stabat Mater dolorosa The sorrowful mother stood Juxta crucem lacrymosa weeping by the cross Dum pendebat Filius. where her Son was hanging. Cujus animam gementem Her groaning heart, Contristatem et dolentem saddened and anguished, Pertransivit gladius. a sword had pierced. O quam tristis et afflicta O how sad and afflicted Fuit illa benedicta was that blessed Mater unigeniti! Mother of the only-begotten! Quae moerebat et dolebat She grieved and lamented, Pia Mater, dum videbat the holy Mother, as she saw Nati poenas inclyti. the suffering of her glorious Son. Quis est homo, qui non fleret, Who is the man who would not weep Matrem Christi si videret if he should see the Mother of Christ In tanto supplicio? in such torment? Quis non posset contristari, Who could not be saddened Christi Matrem contemplari to contemplate the Mother of Christ Dolentum cum Filio? grieving for her Son? Pro peccatis suae gentis For the sins of his people, Vidit Jesum in tormentis, she saw Jesus in torment Et flagellis subditum. and undergoing the scourge. Vidit suum dulcem Natum She saw her sweet Son Moriendo desolatum desolate in dying, Dum emisit spiritum. as He gave up the spirit. Eja Mater, fons amoris, Ah Mother, fount of love, Me sentire vim doloris make me feel the power of grief, Fac, ut tecum lugeam. that I may lament with you. Fac ut ardeat cor meum Make my heart to burn in amando Christum Deum, with the love of Christ, my God, Ut sibi complaceam. so that I may please Him. Sancta Mater, istud agas, Holy Mother, grant this: Crucifixi fige plagas affix the wounds of the Crucified Cordi meo valide. firmly in my heart. Tui Nati vulnerati, Share with me the anguish Tam dignati pro me pati, of your wounded Son, who Poenas mecum divide. deigned to suffer as much for me. Fac me tecum pie flere, Make me with piety weep with you, Crucifixo condolere to grieve along with the Crucified Donec ego vixero. as long as I shall live. Juxta crucem tecum stare, I desire to stand by the cross Et me tibi sociare with you, and to join with you In planctu desidero. in your lamentations.

20 Virgo virginum praeclara, Virgin, most noble among virgins, Mihi jam non sis amara, do not be harsh with me now, Fac me tecum plangere. make me weep with you. Fac ut portem Christi mortem, Make me bear Christ’s death, Passionis fac consortem, a partner in his passion, Et plagas recolere. and contemplate his wounds. Fac me plagis vulnerari, Make me wounded by his wounds, Fac me cruce inebriari, Make me drunk with the cross Et cruore Filii. and the ﬂowing blood of your Son. Flammis ne urar succensus, That I may not burn in hell’s ﬂames, Per te, Virgo, sim defensus, let me be defended by you, O virgin, in die judicii. in the day of judgment. Christe, cum sit hinc exire, Christ, when I must pass from here, Da per matrem me venire Allow me, through your mother, to come Ad palmam victoriae. to the palm of victory. Quando corpus morietur When my body shall die, Fac ut animae donetur make my spirit be given Paradisi gloria. to the glory of paradise. Amen. Amen.

The compositional history of Don Carlo (1867; revised 1872, 1884, 1886) is probably the most complex of Verdi’s works; back-to-back versions would yield more than four hours of music. Originally composed in five acts as a French opera (Don Carlos), it is frequently performed in one of its four-act Italian incarnations. The plot revolves around the impetuous Infante, Don Carlos, but the emotional core of the opera belongs to his father, Philip II (some critics have suggested that Filippo II, re d’Espagna might have been a more apt title), and not least because Verdi gave him one of the most beautiful scenes in his entire oeuvre—“Ella giammai m’amò”(Act IV, scene 1 of the original French version; Act III, scene 1 in the four-act versions). Among Verdi’s conflicted male characters (Rigoletto being high on the list), Philip may well be the crown prince (pun intended), a lonely monarch torn between the duties of state and the basic human desire for love and friendship. The scene, a reverie, takes place at dawn in the King’s study and unfolds in several sections defined by the repeated phrases, “She [Queen Elisabeth] never loved me” and “I shall sleep only when I am laid to rest in my royal robes in the cold marble vaults of the BSO Archives

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 21 Escorial.” Verdi begins with a brief fanfare, but then calls upon Philip’s alter ego in the form of a solo cello solo answered by reiterated figures in the strings that speak for the world-weariness and muted frustration of an isolated soul.

PHILIP She never loved me! No, her heart is closed to me, she has no love for me! I can see her yet, sad of face, surveying my white hairs the day she came here from France. No, she feels no love for me, she does not love me! Where am I?... Those candelabra about to go out!... The dawn whitens my bal- cony! Day is breaking already! I watch my slow days passing! Sleep, oh God, has vanished from my weary lids! I shall sleep only in my royal mantle when I have reached the evening of my days, I shall sleep only in the black vault, only in that black vault, there, in my tomb in the Escurial. If only the royal crown gave me the power to read men’s hearts, which God alone can see!... Oh, if only the royal crown, etc. If the prince sleeps, the traitor wakes; the king loses his crown, the husband his honor! I shall sleep only in my royal mantle, etc. She never loved me! No, her heart is closed to me, she does not love me! Verdi’s early comedy Un giorno di regno (“King for a Day”; 1840) was poorly received and the composer shied away from the genre until 1889, when he and Arrigo Boito began working on Falstaff. Verdi and Boito worked in secret for nearly a year, but in 1890 they revealed their activities to publisher Giulio Ricordi with a toast to “the Potbelly,” Falstaff. As Verdi explained to his friend, Gino Monaldi, “What can I tell you? For forty years I have wanted to write a comic opera, and for fifty years I have

22 known The Merry Wives of Windsor; yet the usual buts, which are everywhere, always kept me from fulfilling this wish. Now Boito has dissolved all the buts and created a lyric comedy for me unlike any other.” Falstaff premiered at La Scala in Milan on February 9, 1893, to glowing reception. The opera is through-composed, featuring a number of distinctive, orchestra-driven monologues, including the Act I tour de force for the title character, “Ehi! paggio!... L’onore.” Falstaff, empty-pocketed, asks his drunken comrades Bardolfo and Pistola to deliver identical “love” letters to two married women—Alice Ford and Meg Page— in the hope of seducing them into giving him some of their wealthy husbands’ money. The men refuse to participate in the ruse on the grounds that it would be dishonorable to do so. Falstaff’s response is pure rage, a scathing litany of “facts” about the over-rated concept of “honor.” Both music and rhetoric erupt in fits and starts, gaining velocity and volatility to climax on the words “I dismiss you” in one of the few definitive closing cadences in the opera.

FALSTAFF Hey, page! (Turning back to Bardolph and Pistol) Go hang yourselves—but not on me. (To the page) Two letters—take them—for two ladies. Deliver them at once, run! Off with you! hurry! go! (Again to Bardolph and Pistol) Honor! Thieves! You are faithful to your honor, you cesspools of infamy, when even we cannot always keep faith with ours? Yes, even I—I!—must sometimes lay aside the fear of God and, of necessity, bypass honor, use some stratagem or ambiva- lence, maneuver, a different tack. And you, in your rags, and your crooked leopard’s eye, and your fetid laughter— you keep company with Honor? What honor? What honor indeed? What idle talk! What a joke! Can Honor fill up your belly? No. Can Honor set a broken shin? No. It cannot. Or a foot? No. Or a finger? No. Or a hair? Honor is not a physician. What is it, then? A word. And what is there in this word? Empty air that flies away. A fine thing! Can one who is dead feel Honor? No. Does it live only with the living? Not even that, for flattery puffs it up, pride corrupts it, calumny sickens it. As for me, I’ll have no part of it. No, no, no, no, no, no! But, to get back to you two scoundrels, I’ve waited too long, and I now chase you out. (He takes the broom and chases Bardolph and Pistol around the hall.) Ho, there! Quick, quick—at the gallop! At the gallop! The noose fits you well. Out! Out! Thieves! Thieves! Away! Out of here! Out of here!

Notes by HELEN M. GREENWALD Musicologist Helen M. Greenwald, who has taught at the New England Conservatory since 1991, writes and lectures internationally on a wide range of musical subjects. She is the editor of The Oxford Handbook of Opera, published in October 2014 by Oxford University Press.

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 23 “Tosca,” Act I Synopsis of the Plot

The setting is the church of Sant’Andrea della Valle in Rome. The time is 1800, during the Napoleonic invasion of Italy. Angelotti, an escaped political prisoner, rushes into the sanctuary and, exhausted, hides in the private chapel of the Attavanti family. The Sacristan, thinking he has heard someone, enters and is surprised not to find the painter Cavaradossi at work. Cavaradossi soon appears. Seeing the painting of Mary Magdalene on which Cavaradossi is working, the Sacristan is shocked to discover that he has been using an unknown but beautiful worshipper as model. The painter compares the beauty of this blonde woman with that of his own dark-eyed Floria Tosca, a famous singer (“Recondita armonia”). After the Sacristan leaves, Angelotti reappears. Cavaradossi promises him aid and, as Tosca’s offstage cries of “Mario!” are heard, thrusts Angelotti back into the chapel. Tosca has heard the commotion and questions Cavaradossi suspiciously. He calms her for a time, but when she recognizes the Marchesa Attavanti in Cavaradossi’s picture, she bursts out in jealousy once again. After Cavaradossi has allayed her sus- picions and she has left, Angelotti again emerges. The fugitive tells Cavaradossi that his sister, the Marchesa, has left behind some women’s clothing for him to use as a disguise. Cavaradossi offers to let Angelotti stay in his villa, even to hide in the well in the garden if need be. A cannon shot, warning of the prisoner’s escape, is heard. Cavaradossi decides to go off with Angelotti. The Sacristan returns, exulting at the news of a Royalist victory over Napoleon. Acolytes and choirboys irrupt onto the scene. Suddenly Baron Scarpia, head of the secret police, appears. He tells the crowd to go off and prepare for the Te Deum. Then he questions the Sacristan, discovers the unlocked chapel, and finds the Marchesa’s fan, which Angelotti must have let drop from the women’s clothing. Tosca returns, and, using the Marchesa’s fan, Scarpia further inflames her jealousy, intent on using her to find Angelotti, who he suspects has fled with Cavaradossi. After she leaves, Scarpia orders his henchman, Spoletta, to follow her. People have been gathering in the church for the Te Deum. Cannon fire, in celebration of the victory, is heard, and the singing begins. Scarpia rejoices at having pulled Tosca into his trap, then joins in the hymn (“Va, Tosca!”).

24 Giacomo Puccini (1858-1924) “Tosca,” Act I Shortly after completing Edgar (1889), and while he was already formulating ideas for Manon Lescaut (1893), Giacomo Puccini saw Victorien Sardou’s French play, La Tosca, starring Sarah Bernhardt. Puccini was thrilled by it and wrote immediately to publisher Giulio Ricordi, “I’m thinking about Tosca! I implore you to do everything necessary to obtain Sardou’s permission before abandoning the idea—that would grieve me terribly, since I can see that Tosca is the opera that is just right for me.” Ricordi, however, was doubtful about the subject, as was libret- tist Giuseppe Giacosa, who later (when he was already engrossed in the project) complained to Ricordi, “the more one gets inside the action and pene- trates each scene to draw out lyric or poetic life from it, the more one is convinced of its absolute unadaptability for music theatre.” Puccini was, nonetheless, determined, and Ricordi moved forward with the difficult task of persuading Sardou that an Italian opera composer and not a French one could best transform his work. In 1892, an agreement was reached and the contract signed, but Puccini was by that time completing Manon Lescaut and thinking about Murger’s serialized novel Scènes de la vie de bohème (1851), which became the four-year collaboration with Luigi Illica and Giuseppe Giacosa that yield- ed La bohème (1896). The delay was a problem for the publisher, however. Sardou was anxious to see the new version of his play, and to satisfy the playwright, Ricordi brought in Illica to sketch an outline of the plot and Alberto Franchetti (Cristoforo Columbo; 1892) to compose the music. In 1895, however, Franchetti withdrew from the collaboration; Puccini stepped back into the scene and Giacosa was brought in to assist with versification of the libretto. The second collaboration of the trio of Puccini, Illica, and Giacosa was now set into motion (composer and poets would come together for the last time in 1904 for Madama Butterfly). Tosca premiered at the Teatro Costanzi in Rome on January 14, 1900, conducted by the much-esteemed Leopoldo Mugnone, who had led the first performance of Mascagni’s Cavalleria rusticana at the Costanzi ten years earlier. The sets were designed by Adolfo Hohenstein, creator of the famous poster in which Tosca, against a sea of red, places a crucifix on Scarpia’s corpse (see page 16). The audience, resplendent with glitterati, including Queen Margherita, Mascagni, and Richard Wagner’s son, Siegfried, applauded and asked for encores. Nonetheless, critics vilified Tosca, finding especially distasteful its overt sexuality and excessive violence. As Puccini scholar Alexandra Wilson has put it, the issue was Italy’s “moral well-being”; the work was declared “depraved,” “tinged with blood,” “black, tragic, terrible,” and, perhaps worse, “superficial.” Critical negativity would peak with the remarks of musicologist Joseph Kerman, who, in the first edition (1956) of his Opera as Drama, condemned Puccini’s opera as a “shabby little shocker” and later compared it to a “chain-saw movie.” Yet it would seem that it is precisely the “danger” of Tosca that has kept it in front of today’s audiences. Imagine the realpolitik of Rome in 1800, its Neapolitan government threatened by Napoleon’s victory at the Battle of Marengo: the action—political, religious, and sexual—plays out under the radar, as the villainous police chief Scarpia, driven by desire for Tosca, plots seduction and murder. The curtain rises with the so-called “Scarpia chords,” three fortissimo statements that forecast the opera’s violence with their unusual harmonic relationship, dissonant and incompatible by classical stan- dards: B-flat, A-flat, E major. The scene is practically wordless, as Puccini’s syncopat- ed scoring details Angelotti’s desperate search for the key to the Attavanti Chapel in the Church of Sant’Andrea della Valle. (The Angelotti of a lesser composer would

TANGLEWOODWEEK 2 GUESTARTISTS 25 have explained his situation in verse.) The “escape music” yields to a comic Sacristan followed by the dreamy musings of Cavaradossi (“Recondita armonia”); a passionate love duet between Tosca and Cavaradossi; and finally, the glorious “Te deum” that celebrates the apparent defeat of Napoleon and concludes the act. Here Puccini masterfully knits together sacred, profane, and sanctimonious: as the procession enters the church to the sound of the organ, Scarpia faces the audience and declares his lust:“Tosca, you make me forget God!” He then kneels to sing “Te aeturnum/ Patrem omnis terra veneratur!” Curtain.

HELEN M. GREENWALD

Guest Artists Bramwell Tovey Grammy and Juno award-winning conductor/composer Bramwell Tovey was appointed music director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China and Korea, as well as across Canada and the United States. Mr. Tovey is also the artistic adviser of the VSO School of Music, a state- of-the-art facility and recital hall that opened in downtown Vancouver in 2011, next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, and Brahms, as well as the estab- lishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, Bramwell Tovey will become the orchestra’s music director emeritus. The 2014-15 season brings guest appearances in the United States with the Boston Symphony Orchestra, Philadelphia Orchestra, New York Phil- harmonic, and Kansas City Symphony; in Europe with the BBC Philharmonic and Helsingborg Symphony Orchestra; and, on two separate occasions, engagements in Australia with the symphony orchestras of Melbourne and Sydney. In 2013-14 his guest appearances included the BBC and Royal philharmonics, the New York and Los Angeles philharmonics, the Boston Symphony, Philadelphia, and Cleveland orchestras, and the Toronto Symphony, as well as his debut with the Chicago Symphony at the Ravinia Festival. In 2003 Mr. Tovey won the Juno Award for Best Classical Composition for his choral-and-brass work Requiem for a Charred Skull. He has received commissions from the New York Philharmonic, Los Angeles Philharmonic, Toronto Symphony, and Calgary Opera, where his first full-length opera, The Inventor, was premiered in 2011. A recording of the work, featuring the VSO with University of British Columbia Opera and the original cast, is forthcoming from Naxos. Earlier this year, his trumpet concer- to, Songs of the Paradise Saloon, was performed by the Los Angeles Philharmonic with soloist Alison Balsom, who will perform the work with the Philadelphia Orchestra in December 2014. Bramwell Tovey has appeared as pianist with many major orchestras, including those of New York, Sydney, Melbourne, Los Angeles, Pittsburgh, St. Louis, and Toronto, and the Royal Scottish Orchestra. In summer 2014 he played and conducted Gershwin’s Rhapsody in Blue at the Hollywood Bowl with the Los Angeles Phil- harmonic and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg symphonies and the Royal Philharmonic. From 1989 to 2001 Mr. Tovey was music director of the Winnipeg Symphony Orchestra, where he founded the WSO’s celebrated New Music Festival. From 2002 to 2006 he was music director of the Luxembourg Philharmonic, leading tours of Europe, the U.S., China, and Korea. He opened Luxembourg’s Salle Philhar- monie with the world premiere of Penderecki’s Eighth Symphony. A Fellow of the Royal Academy of Music in London and the Royal Conservatory of Music in Toronto,

26 he holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen, and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music. Bramwell Tovey made his Boston Symphony Orches- tra debut at Tanglewood in August 2011 with a concert performance of Gershwin’s Porgy and Bess, and his subscription series debut in January 2012 with Mendelssohn’s Lobgesang. His most recent BSO appearances were to lead a BSO concert performance of Leonard Bernstein’s Candide at Tanglewood last August, and a subscription program pairing Bach’s Cantata 82, Ich habe genug, and Brahms’s Ein deutsches Requiem in October 2014.

Sondra Radvanovsky (Tosca) Soprano Sondra Radvanovsky’s performances have won her accolades from critics and loyalty from passionate fans. During the 2014-15 season Ms. Radvanovsky sang the demanding title role in Norma at San Francisco Opera, the Gran Teatre del Liceu, the Bayerische Staatsoper, and the Munich Festival. She made her debut in Norma at Teatro Campoamor de Oviedo in the 2011-12 season and received critical and popular acclaim in the same role during the 2013-14 season at the Metropolitan Opera. Following her San Francisco Norma, she made her Los Angeles recital debut, the only recital at the Los Angeles Opera last season. In December 2014 and January 2015, she sang Anna Bolena at Lyric Opera of Chicago, a company with which she has a close relationship. The role solidifies her mastery of what have come to be known as Donizetti’s “three queens”—the leading soprano roles in Anna Bolena, Maria Stuarda, and Roberto Devereux. In the 2015-16 season Ms. Radvanovsky will perform all three queens at the Metropolitan Opera. Other recent highlights include concerts in Russia, the title role in Aida at the Vienna State Opera, and reprising the role of Amelia in Un ballo in maschera. She has performed in the world’s major opera houses, including the Royal Opera House, Paris Opera, Teatro alla Scala, and numerous others. Her home theater is the Metropolitan Opera, where she began her training in the late 1990s. After performances in smaller roles there, she caught the attention of critics as Antonia in Les Contes d’Hoffmann and was singled out as a soprano to watch. On the concert platform, Ms. Radvanovsky has performed with the Boston Symphony Orchestra and at the Verbier Festival Orchestra, both with James Levine; with the Chicago Symphony and David Zinman, with the San Francisco Symphony and James Conlon, and with the Bayerische Staatsoper and Zubin Mehta. Her debut recording, featuring Verdi arias, was released in April 2010 on the Delos label, quickly became a critical hit, and made several season-best lists, including those of NPR and the New Yorker. In 2011 Delos released a CD of Verdi opera scenes with Ms. Radvanovsky and her frequent artistic partner, Dmitri Hvorostovsky, to coincide with the pair’s return to the Met stage in Il trovatore. Ms. Radvanovsky also stars in a Naxos DVD of Cyrano de Bergerac alongside Plácido Domingo. She has been featured in the Metropolitan Opera’s Live in HD series, starring in trans- missions of Il trovatore and Un ballo in maschera and serving as host for La fanciulla del West, Otello, and Francesca da Rimini. Born just outside of Chicago, Ms. Radvanovsky now makes her home with her husband near Toronto, Canada. Sondra Radvanovsky’s three previous appearances with the Boston Symphony Orchestra have all been at Tanglewood: as soloist in Verdi’s Requiem, the occasion of her BSO and Tanglewood debuts in August 2003; as soloist in Beethoven’s Ninth Symphony later that same month; and again as soloist in Beethoven’s Ninth, in July 2006.

TANGLEWOODWEEK 2 GUESTARTISTS 27 Brandon Jovanovich (Cavaradossi) Making his Boston Symphony Orchestra and Tanglewood debuts this evening, tenor Brandon Jovanovich is sought by the world’s finest opera companies for his passionate stage portrayals of leading roles in French, Italian, German, and Slavic opera. Mr. Jovanovich opened his 2014-15 season at San Francisco Opera as Sam in Carlisle Floyd’s Susannah in a new production by Michael Cavanagh, followed by his return to the Metropolitan Opera as Sergei in Shostakovich’s Lady Macbeth of Mtsensk with James Conlon conducting. Other operatic highlights included Walter in Lyric Opera of Chicago’s highly anticipated production of Mieczyslaw Weinberg’s The Passenger and a reprise of his acclaimed Florestan in Beethoven’s Fidelio at Opernhaus Zürich. Orchestral engagements included Beethoven’s Missa Solemnis with the Los Angeles Philharmonic and San Francisco Symphony, both under Michael Tilson Thomas; Dvoˇrák’s Stabat Mater with Yannick Nézet-Séguin and the Orchestre Métropolitain de Montréal; concert performances of Fidelio with Michael Tilson Thomas and the San Francisco Symphony, and his New York Philhar- monic debut in Verdi’s Requiem under the baton of Alan Gilbert. Highlights of recent seasons include the Prince in Sir David McVicar’s new production of Rusalka at Lyric Opera of Chicago; Don José in Carmen at Los Angeles Opera, Dallas Opera, Opernhaus Zürich, and in a new production at Houston Grand Opera; the title role of Lohengrin at San Francisco Opera; Florestan at the Verbier Festival and in a new Andreas Homoki production of Fidelio at Opernhaus Zürich; Pinkerton in Madama Butterfly at Los Angeles Opera; the Chevalier des Grieux in Manon Lescaut at La Monnaie in Brussels, and Sergei in a new production of Lady Macbeth of Mtsensk with Opernhaus Zürich. Recent concert work has included appearances with the Gürzenich-Orchester Köln, the Balti- more Symphony, Lyric Opera of Chicago’s Millennium Park series, and the title role in a concert production of Lohengrin at Festival International de Lanaudière led by Yannick Nézet-Séguin. Mr. Jovanovich has sung Cavaradossi in Tosca with the Canadian Opera

Company, Oper Köln, Seattle Opera, Opéra National de Bordeaux, de Vlaamse Opera, and the Bregenz Festival, which was featured in the James Bond film Quantum of Solace. He made role debuts in Wagner’s Der Ring des Nibelungen as Froh and Siegmund with San Francisco Opera in 2011 in Francesca Zambello’s highly acclaimed production with Donald Runnicles conducting, and his UK debut at the Glyndebourne Festival as Don José in David McVicar’s production of Carmen led by Stéphane Denève. A native of Billings, Montana, Brandon Jovanovich received his training at Northern Arizona University and Manhattan School of Music. He was the recipient of the 2007 Richard Tucker Award and was twice a New York City district winner in the Metropolitan Opera National Council Auditions. He was a founding member of the Seattle Young Artists program and was a member of the Santa Fe Opera Apprentice program, where he was given the Anna Mackay Case Award. He won the Crawley Award from the Young Patronesses of the Opera/Florida Grand Opera Voice Competition and in 2004 was given the prestigious ARIA Award.

Bryn Terfel (Scarpia) The Welsh bass-baritone Bryn Terfel has performed in all the great opera houses of the world, and is especially recognized for his portrayals of Mozart’s Figaro, Verdi’s Falstaff, and Wagner’s Wotan. He made his operatic debut in 1990 as Guglielmo in Così fan tutte for Welsh National Opera. His international operatic career began in 1991 when he sang the Speaker in Mozart’s Die Zauberflöte at the Théâtre de la Monnaie in Brussels, and in the same year made his United States debut as Figaro at Santa Fe Opera. Other roles include the title role of Der fliegende Holländer, Méphistophélès in Faust, both the title role and Leporello in Don Giovanni, Jochanaan in Salome, Scarpia in Tosca, the title role of Gianni Schicchi, Nick Shadow in The Rake’s Progress, Wolfram in Tannhäuser, Balstrode in Peter Grimes, the Four Villains in Les Contes d’Hoffmann, Dulcamara in L’elisir d’amore, and the title role of Sweeney Todd. Mr. Terfel is also known for his versa- tility as a concert performer, with engagements ranging from the opening ceremony of the Wales Millennium Centre, Last Night of the Proms, and the Royal Variety Show to a gala concert with Andrea Bocelli in New York’s Central Park. He has given recitals in the world’s major cities and for nine years hosted his own festival in Faenol, North Wales. Bryn Terfel has won a Grammy, Classical Brit, and Gramophone awards; his discography includes operas of Mozart, Wagner, and Strauss, and more than ten solo discs encompassing Lieder, American musical theater, Welsh songs, and sacred repertory. In 2003 he was made a CBE for Services to Opera in the Queen’s New Year Honours list; in 2006 he was awarded the Queen’s Medal for Music. He is also the last recipient of the Shakespeare Prize by the Alfred Toepfer Foundation, Hamburg. Recent highlights include his role debut as Hans Sachs in Welsh National Opera’s critically acclaimed production of Die Meistersinger von Nürnberg ; opening La Scala’s 2011 season as Leporello and Scarpia; singing Wotan in Wagner’s Ring cycle for the Royal Opera House and the Metropolitan Opera; performing the title role in Der fliegende Holländer for Zurich Opera; singing Scarpia for the Bayerische Staatsoper, Munich; and hosting Brynfest, a four-day festival at London’s Southbank Centre, as part of the Festival of the World. In 2013 he made his debut in concert at the Abu Dhabi Festival and the Royal Opera House, Muscat; performed with the Melbourne and New Zealand symphony orchestras; and returned to the Sydney Opera House in recital. His new Deutsche Gram- mophon album with the Mormon Tabernacle Choir was released in September 2013. Highlights of recent and future engagements include semi-staged performances of Sweeney Todd at New York’s Lincoln Center and at the Llangollen International Music Festival, a concert tour of South Africa, a return to Covent Garden for the title role in Gounod’s Faust and Dulcamara, his role debut as Tevye in Fiddler on the Roof for Grange

TANGLEWOODWEEK 2 GUESTARTISTS 29 Park Opera, and concerts to celebrate his 50th birthday at London’s Royal Albert Hall and at Wales Millennium Centre. Bryn Terfel made his Boston Symphony Orches- tra debut on Opening Night of the BSO’s 1997-98 season, and his first Tanglewood appearance with the BSO in August 1998. His return engagements with the orchestra have included Opening Night of the 2010-11 season; Tanglewood concerts in 1998, 2004, and most recently in 2013 (singing the role of Wotan in a concert performance of Wagner’s Die Walküre, Act III); and his subscription series debut in October 2014 (as soloist in Bach’s Cantata No. 82, Ich habe genug, and Brahms’s Ein deutsches Requiem, with Bramwell Tovey conducting).

John Del Carlo (Sacristan) American bass-baritone John Del Carlo has established himself as a leading artist with the finest opera houses and symphony orchestras throughout the world. Mr. Del Carlo has enjoyed an important relationship with the Metropolitan Opera since 1993. Since his Met debut as Kothner in Die Meistersinger von Nürnberg, he has appeared there in the title role in Don Pasquale, Dr. Bartolo in Il barbiere di Siviglia, Swallow in Peter Grimes, Quince in A Midsummer Night’s Dream, Mathieu in Andrea Chénier, Colonel Frank in Die Fledermaus, Baron Zeta in The Merry Widow, and Alfieri in the company’s premiere of Bolcom’s A View from the Bridge. He has also established important ties with San Francisco Opera. His numerous appearances there have included the title role in Falstaff, Bartolo, Baron Zeta, Kothner, Dulcamara in L’elisir d’amore, Alidoro in La Cenerentola, and General Boum in La Grand Duchesse de Gérolstein. He has also appeared at Lyric Opera of Chicago, Seattle Opera, Houston Grand Opera, Los Angeles Opera, Washington National Opera, San Diego Opera, the Royal Opera House–Covent Garden, Opéra

30 National de Paris, the Aix-en-Provence Festival, Teatro Comunale Giuseppe Verdi in Trieste, Cologne Opera, Deutsche Oper am Rhein, Vlaamse Opera, and the Opernhaus Zurich. On the concert platform, Mr. Del Carlo has appeared with leading symphony orchestras throughout North America, including the San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra, and Minnesota Orchestra. He has collaborated with many of the world’s finest conductors, including Dennis Russell Davies, Sir Andrew Davis, Daniele Gatti, James Levine, Seiji Ozawa, Donald Runnicles, Patrick Summers, and Jeffrey Tate. Mr. Del Carlo has appeared in Metropolitan Opera live HD broadcasts of Il barbiere di Siviglia, The Tempest, and Don Pasquale, and the PBS telecasts of Madama Butterfly with Lyric Opera of Chicago, La Gioconda with San Fran- cisco Opera, and La bohème with the Opera Company of Philadelphia. He also appeared in Cologne’s production of La Cambiale de matrimonio, which was televised in Europe and recorded for video release by the Teldec/NVC label, and in Salieri’s Falstaff with the Schwetzinger Festspiele, which was released on DVD by the Arthaus Musik label. His numerous recordings include L’italiana in Algeri (Teldec Classics); La Cenerentola with Neville Marriner (Philips Classics); Zuane in La Gioconda (London/Decca), and Olivio in Donizetti’s Olivo e Pasquale (Bongiovanni). In the 2015-16 season, he returns to the Metropolitan Opera for La bohème and Tosca. John Del Carlo made his Boston Symphony Orchestra debut in December 1991, as a soloist in Mozart’s Requiem with Seiji Ozawa conducting.

Ryan Speedo Green (Angelotti) A native of Suffolk, Virginia, bass-baritone Ryan Speedo Green makes his Tanglewood debut this evening, having made his BSO debut in March 2014 as the Second Soldier in Salome under Andris Nelsons. Mr. Speedo Green recently completed the Lindemann Young Artist Development Program at the Metropolitan Opera. In the 2014-15 season he joined the Vienna State Opera as a company member and was featured as Sparafucile in a new production of Rigoletto, as well as Don Basilio in The Barber of Seville, among several other assignments. Also that season he appeared as Rambo in the Metropolitan Opera’s premiere of John Adams’s The Death of Klinghoffer conducted by David Robertson. In addition to his BSO debut, the 2013-14 season brought a return to the Met stage as the Bonze in Madama Butterfly and the Jailer in Tosca, as well as his Philadelphia Orchestra debut singing Beethoven’s Ninth Symphony. Other appearances included the Father-in-law in Milhaud’s Le Pauvre Matelot and Zuniga in Carmen with the National Symphony Orchestra at Wolf Trap Opera. Mr. Speedo Green made his Metropolitan Opera stage debut in the 2012-13 season, singing the Mandarin in Turandot and the Second Knight in Parsifal. Additional operatic engagements include the Commendatore in Don Giovanni at the Juilliard School, Colline in La bohème with Central City Opera, and Don Magnifico in La Cenerentola as a resident artist with Opera Colorado. Concert work includes the bass solo in Verdi’s Requiem with Hartford Chorale, Mozart’s Coronation Mass with the Virginia Symphony, and Beethoven’s Symphony No. 9 with both the Florida Symphony and Norwalk Symphony orchestras. He was also a featured soloist in a celebration of song honoring Carlisle Floyd’s 85th birthday with the Florida State University Department of Music, conducted by the composer. In 2011, journalist Daniel Bergner’s New York Times Magazine article entitled “Sing for Your Life” chronicled Ryan Speedo Green’s journey from a rural suburb in Virginia to the Met stage. The article has garnered interest from Harper-Collins publishing company, which plans on transforming it into a biography. A National Grand Finals winner of the 2011 Metro- politan Opera National Council Auditions, Mr. Speedo Green is the recipient of a 2014 George London Foundation Award and a 2014 Annenberg grant, a 2014 Gerda

TANGLEWOODWEEK 2 GUESTARTISTS 31 Lissner Foundation First Prize winner, recipient of both the Richard and Sara Tucker grants from the Richard Tucker Foundation, and a finalist in the Palm Beach Opera Competition. He received his master of music degree from Florida State University and his bachelor of music degree from the Hartt School of Music.

Tanglewood Festival Chorus John Oliver, Conductor

This summer, the Tanglewood Festival Chorus performs music of Verdi and Puccini with the Boston Symphony Orchestra conducted by Bramwell Tovey (July 11); Mahler’s Symphony No. 8 with the Tanglewood Music Center Orchestra led by BSO Music Director Andris Nelsons (the TMC 75th Anniversary Gala on August 8), and the BSO’s traditional season-ending Tanglewood performance of Beethoven’s Ninth Symphony, to be led by Asher Fisch (August 16), as well as its annual Friday Prelude concert under John Oliver’s direction in Ozawa Hall, a program this year of music by Bach, Barber, Brahms, and Copland (August 14). 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 over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orches- tra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since

32 made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented 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 Conser- vatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200

TANGLEWOODWEEK 2 GUESTARTISTS 33 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In Febru- ary 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. At the end of the 2015 Tanglewood season, Mr. Oliver will step down from his leadership position with the Tanglewood Festival Chorus. To honor his forty-five years of service to the ensemble, the Boston Symphony Orchestra will award Mr. Oliver the Tanglewood Medal at a ceremony to take place this summer. In addition to taking on the newly created lifetime title of Founder and Conductor Laureate of the TFC, he will also occupy a Master Teacher Chair at the Tanglewood Music Center beginning next summer. BSO Archives

34 Tanglewood Festival Chorus John Oliver, Conductor (Verdi Stabat Mater and Puccini Tosca, Act I, July 11, 2015)

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

Alison Anderson • Joy Emerson Brewer • Alison M. Burns • Norma Caiazza • Jeni Lynn Cameron • Anna S. Choi • Lisa Conant • Emilia DiCola • Christine Pacheco Duquette * • Adrianne Fleming • Katherine Barrett Foley • Hailey Fuqua • Diana Gamet • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Ebele Okpokwasili-Johnson • Jaylyn Olivo • Laurie Stewart Otten • Livia M. Racz • Adi Rule • Dana R. Sullivan • Sarah Telford # • Lauren Woo • Bethany Worrell • Meghan Renee Zuver Mezzo-Sopranos

Virginia Bailey • Martha A. R. Bewick • Betty Blanchard Blume # • Betsy Bobo • Lauren A. Boice • Sharon Brown • Janet L. Buecker • Janet Casey • Abbe Dalton Clark • Diane Droste # • Barbara Naidich Ehrmann # • Paula Folkman * • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride * • Rachel K. Hallenbeck # • Betty Jenkins • Nora Kory • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Maya Pardo • Daniel Roihl • Lori Salzman • Kathleen Hunkele Schardin • Julie Steinhilber # • Celia Tafuri • Lelia Tenreyro-Viana • Christina Wallace Cooper # • Karen Thomas Wilcox Tenors

Brad W. Amidon # • Brent Barbieri • James Barnswell • John C. Barr # • Ryan Casperson • Jiahao Chen • Stephen Chrzan • John Cunningham • Kevin F. Doherty Jr. • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • Matthew Jaquith • James R. Kauffman # • Christopher G Keene • Lance Levine • Ronald J. Martin • Mark Mulligan • Jonathan Oakes • Kevin Parker • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Brian R. Robinson • David Roth • Joshuah Rotz • Andrew Wang • Joseph Y. Wang Basses

Nicholas Altenbernd • Thomas Anderson • Scott Barton • Daniel E. Brooks # • Nicholas A. Brown • Eric Chan • Matthew Collins • Matthew E. Crawford • Christopher Davey • Jeff Foley • Mark Gianino • Alexander Goldberg • Jay S. Gregory # • Andrew Gribbin • Jeramie D. Hammond • Nathan Kessel • David M. Kilroy • G.P. Paul Kowal # • Bruce Kozuma # • Maxwell Levy • Stephen H. Owades § • Sebastian Rémi • Steven Rogers • Jonathan Saxton • Alexander Teplansky • Samuel Truesdell • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Peter J. Wender §

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Janet Casey, Italian Diction Coach Erik Johnson, Chorus Manager Emily W. Siders, Assistant Chorus Manager

TANGLEWOODWEEK 2 GUESTARTISTS 35

Voices Boston Voices Boston was founded as Performing Artists at Lincoln School (PALS Children’s Chorus) in 1990 by Johanna Hill Simpson, with a group of parents at W.H. Lincoln School in Brookline. It was designed as a privately funded, after-school program for Lincoln students, training them in choral singing, dance, and drama. To reflect its broader reach and subsequent national and international collaborations, and in anticipation of its 25th anniversary in 2015, PALS was renamed Voices Boston in 2014. From 1996 to 2003, Johanna Hill Simpson continued to guide the ensemble, building relationships with leading arts organizations that are strong to this day, including those with the Boston Symphony Orchestra and Boston Pops, the Cantata Singers, Boston Lyric Opera, and the Boston Early Music Festival. After her retirement, Alysoun Kegel built on the strong legacy and extended participation to children from beyond Lincoln School, growing the membership in diversity and size. In spring 2011, the board recruited Andy Icochea Icochea, a choral director of international renown, to assume the artistic leadership.

Andy Icochea Icochea Voices Boston conductor Andy Icochea Icochea is a multifaceted musician who regularly appears as an orchestral and opera conductor, choral conductor, and accompanist, and whose compositions and arrangements are performed internationally. He has appeared in over 500 concerts in twenty-seven countries and four continents, in such venues as Carnegie Hall, Suntory Hall, Vienna’s Musikverein, and Berlin’s Konzerthaus. He also serves as choral clinician and conductor for the World Peace Choir (Vienna and Beijing) and guest clinician for Boston Symphony Orchestra education programs. Mr. Icochea Icochea has collaborated as choral conductor and rehearsal accompanist under Riccardo Muti, Georges Prêtre, Adám Fischer, Franz Welser-Möst, Bertrand de Billy, Bernard Haitink, and Charles Dutoit. His choruses have performed with the Vienna Philharmonic, Vienna Symphony, Royal Stockholm Symphony Orchestra, and Boston Symphony Orchestra; he has conducted world premieres of operas in Austria, Italy, and the United States. Before joining Voices Boston, he served for six years as Kapellmeister with the Vienna Boys Choir. Born and raised in Peru, Andy Icochea Icochea began piano and music theory studies at the age of seven, held his first post as an accompanist at age fourteen, and started conducting children’s choirs the following year. His professional training began in Peru at the National Conservatory of Music and continued at West- minster Choir College in Princeton, N.J. He later studied orchestra, opera, and choral conducting at the Vienna Conservatory. Mr. Icochea Icochea lives in Brookline with his family.

Voices Boston Andy Ichochea Ichochea, Artistic Director

Dessie Bell-Kamen • Maiya Cicmil • Caroline Davis • Mira Donahue • Sarah Gleba • Avery Golub • Hugo Harington • Ben Kiel • Marlyn Li • Chloe Locke • Sophie Morganstern • Emiko Neuwalder • Ethan O’Gara • Wish Pandey • Margaret Pirozzoloo • Amita Polumbaum • Hanna Racz-Kozuma • Eleanor Raine • Daphne Tilleman • Cecilia Viana • Francisco Viana • India Washington • Julianna Watson • Iris Yang

TANGLEWOODWEEK 2 GUESTARTISTS 37 The Evelyn and Samuel Lourie Memorial Concert Sunday, July 12, 2015 The performance on Sunday afternoon is supported by a generous gift from BSO Overseer Linda J.L. Becker in memory of her parents, Evelyn and Samuel Lourie. Linda has been a donor and concert attendee at Tanglewood for fifteen years. She was elected to the BSO Board of Overseers in 2006, and is a former member of the Annual Funds Committee. Linda is one of the most generous supporters of the Tanglewood Annual Fund, contributing to the Koussevitzky Society at the Virtuoso level, and supporting a full fellowship at the Tanglewood Music Center since 2003. In addition to her annual fund support, Linda has regularly supported Opening Nights at Tanglewood. Linda is the School Grammarian and English teacher at the Pine Cobble School in Williamstown, MA. She is an alumna of Smith College and the Harvard Graduate School of Education. In addition to her involvement at the BSO, Linda has been involved with several organizations in the Berkshires. She is a trustee of the North Adams Steeplecats baseball team, director emerita of the Williamstown Rural Lands Foundation, and former chair of the board of trustees of the Milne Public Library in Williamstown.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

38 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, July 12, 2:30pm THE EVELYN AND SAMUEL LOURIE MEMORIAL CONCERT

LUDOVIC MORLOT conducting

ADAMS “The Light That Fills the World” (2000)

MOZART Violin Concerto No. 3 in G, K.216 Allegro Adagio Rondeau: Allegro—Andante—Allegretto—Allegro PINCHAS ZUKERMAN

{Intermission}

DVORˇ ÁK Symphony No. 7 in D minor, Opus 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

TANGLEWOODWEEK 2 SUNDAYPROGRAM 39 NOTES ON THE PROGRAM

John Luther Adams (b.1953) “The Light That Fills the World” First performance: Chamber version—November 20, 1999, Paul Dresher Ensemble, Yerba Buena Center Forum, San Francisco. Orchestral version—December 2, 2000, Healy, Alaska, Fairbanks Symphony Orchestra, Gordon Wright cond. This is the first Boston Symphony Orchestra performance of any music by John Luther Adams. Tanglewood is a marvelously sympathetic environment in which to hear the music of Pulitzer Prize-winning composer John Luther Adams. Much of his large catalog of works has been directly inspired by nature, even to the point of modeling the music on time-spans observed in the earth’s changes, and more concretely, the explicit use of prerecorded natural sounds. His continuously running sound and light environment The Place Where You Go to Listen (2004-06), installed in the University of Alaska Fairbanks Museum of the North, translates the energies of such phenomena as tectonic movement, the sunrise, and the aurora borealis into audible sound; the composer set up the correspondences between energies and the sonic output but relinquished control over the work’s continually changing structure. Although unique in its details, his work can be seen as continuing a lineage of progressive, thought-provoking, and above all pioneering music-making stretching back to Henry Cowell, Harry Partch, John Cage, and Lou Harrison, a lineage he first tapped directly in his studies with the brilliant American experimentalist James Tenney at CalArts. (He also studied with Leonard Stein, who had worked closely with Schoenberg.) Adams has long been well known in the new-music community. Having been into rock music as a kid, he was led to the classical avant-garde in part via Frank Zappa’s interest in Varèse. The music of Morton Feldman was a strong influence, beginning in his teens; a recording of that composer’s work, he has said, “convinced me...that this is what I wanted to do with my life.” Feldman’s reconsideration of the role of time in music resonated deeply with Adams, who heard echoes of that same sense of expansion of time and space in the Alaskan landscape years later. In addition to taking root in the place of his deepest inspiration, he has worked to maintain a connection with the physical nature of music: he was a percussionist with the Fairbanks Symphony Orchestra and its touring offshoot, the Arctic Chamber Orchestra, in the 1980s, and still likes to keep in touch with a piano. He has also worked extensively with technology, producing a number of works with electronic components. For many years Adams’ work was inextricably linked to Alaska, where he moved in 1978 and where, until recently, he created most of the works in his highly imagina- tive and wide-ranging, but philosophically and musically cohesive catalog. He wrote: I was drawn to Alaska by the land itself and by my desire, in life and in my art, for certain qualities that this place represents. And, living here for much of my creative life, I came to measure my own work and everything we human animals create against the overwhelming presence of this place. I know that my music would not be the same had I not made my home here. The influence of this place on my creative life is immeasurable. Yet, over the years, as my work matured, its “Alaskan” qualities gradually became less overt and more deeply assimilated into the music. I began to feel that my music was no longer about place but had become a place of its own. That excerpt comes from “Leaving Alaska,” the composer’s June 2015 essay for the New Yorker magazine, a meditation on pulling up stakes for new environs—a small

40 apartment in Manhattan and the Pacific Coast desert of Mexico. The process has been more or less coincident with a major surge of mainstream awareness in Adams’s music, its beginnings predating his receiving the Pulitzer Prize for the orchestral work Become Ocean in 2014. That piece was commissioned by the Seattle Symphony Orchestra and Ludovic Morlot, one of several commissions from more traditionally oriented ensembles in recent years. Another big orchestral work, Sila: The Breath of the World, was commissioned by a consortium including Lincoln Center; it was premiered by an ad hoc all-star orchestra outdoors in Lincoln Center’s plaza last summer, with some of the performers standing within the plaza’s reflecting pool. The variety of media and ensemble types, and the circumstances of performance, that Adams has invented and employed is enormous. As a percussionist, he has perhaps leaned a little more to that medium than to others, but the diversity within these pieces alone is also great. His Inuksuit (2009), for example, is a ninety-minute work calling for “nine to ninety-nine percussionists.” The thirteen-minute orchestral work The Light That Fills the World was originally written as a chamber piece on commission for the stylistically flexible, San Francisco- based Paul Dresher Ensemble in 1999. That first chamber version was close to thirty minutes long; as Dresher recalls, “John and I conferred about the work and I suggested that it would be more effective and more tourable if it were significantly shorter. He then produced a version that was/is about twelve or thirteen minutes long. We premiered this to great success on May 3, 2001, at the Yerba Buena Center for the Arts in San Francisco.” Meanwhile, Adams had reconstituted the piece for the traditional instrumentation of the Fairbanks Symphony Orchestra, of which his close friend Gordon Wright had been music director during Adams’s time as principal percussionist. Wright led its first performances, in Healy, Alaska, on December 2, 2000, and in Fairbanks the next day. This piece, along with several others of the same era, was a culmination of an approach to “eventless” music that Adams likens to the color field paintings of Rothko. The work is a klangfarbenmelodie study, that is, a meditation on shifting instrumental timbres within a highly constrained harmonic world. A constant, shim- mering energy is activated by tremolos in the mallet percussion instruments (vibes and marimba), crotales, and piano within an aura of sustained lines in the orchestra. The composer’s own note from the score, written when he still lived in Alaska full- time, appears below.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

For much of the year, the world in which I live is a vast, white canvas. Last winter, reading art critic John Gage’s essay “Color As Subject,” I was struck by the equivalence between the view out my window and Mark Rothko’s use of white in his paintings. The exquisite colors on the snow and those in Rothko’s translucent fields suggested to me broad diatonic washes suffused with slowly-changing chromatic harmonies. Slowly, faintly, I began to hear a new music stripped to its most essential elements: harmony, timbre, and texture, suspended in what Morton Feldman called “time undisturbed.” The ideal of the sublime landscape has long been an obsessive metaphor for my work. But the resonances of my recent musical landscapes are more internal, a little less obviously connected with the external world. If in the past the melodic elements

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 41 of the music have somehow spoken of my own subjective presence in the landscape, in the newer music there are no sharply defined lines—only slowly changing colors on a timeless white field. All the edges are blurred. Individual sounds are diffused into a continuous texture, with a minimum of what the art critics call “incident.” All the sounds meld into one unbroken aural horizon. Harmony and color become one with space and time. Listening to these “all-over” textures, it’s difficult to concentrate for long on a single sound. The music wants to move us beyond syntactical meaning, even beyond images, into the experience of listening within an enveloping whole, a transpersonal presence. These seemingly static fields of sound embrace constant change. But rather than moving on a journey through a musical landscape, the experience of listening is more like sitting in the same place as the wind and weather, the light and shadows slowly change. The longer we stay in one place, the more we notice change. The Light That Fills the World was written in late winter and early spring when—following the long darkness of winter—the world is still white and filled with new light. If the unrelenting texture of this music embodies stasis, I hope its prevalent tone evokes the ecstatic. The title of the piece is borrowed from an Inuit song which sings of the close relationship between beauty and terror, risk and revelation.

JOHN LUTHER ADAMS Fairbanks, Alaska, August 1999

42 Wolfgang Amadè Mozart (1756-1791) Violin Concerto No. 3 in G, K.216 First performance: soon after completion date of September 12, 1775, Salzburg. First BSO performance: February 1, 1952, Ernest Ansermet cond., Arthur Grumiaux, soloist. First Tanglewood performance: August 10, 1973, Colin Davis cond., Joseph Silverstein, soloist. Most recent Tanglewood performance: July 13, 2012, Anne-Sophie Mutter cond. and soloist. Wolfgang’s father Leopold was himself a musician of some note, a violinist and composer whose great contribution was a violin method, Versuch einer gründlichen Violin- schule, published in the very year of Wolfgang’s birth and for a long time the standard work of its type. Needless to say, when Wolfgang’s musical talent became apparent, Leopold made sure to teach him his own instrument as well as the piano, and for a time he served as concertmaster in Salzburg. But Wolfgang’s devotion to the violin apparently dwindled after he moved permanently to Vienna and left his father’s sphere of influence. Certainly in his maturity he preferred the keyboard as the principal vehicle of virtuosity, and it was for the keyboard that he composed his most profound concertos, whether for himself, his students, or other virtuosos. His violin concertos are early works, all but one composed in 1775 (the first seems to have been written a year or two earlier). All five of the violin concertos of 1775—when Mozart was only nineteen— date from a period when he was still consolidating his concerto style and before he had developed the range and dramatic power of his mature piano concertos. They still resemble the Baroque concerto, with its ritornello for the whole orchestra recurring like the pillars of a bridge to anchor the arching spans of the solo sections. Mozart gradually developed ways of using the Baroque concerto’s tutti- solo opposition in a unique fusion with the dramatic tonal tensions of sonata form, but the real breakthrough in his new concerto treatment did not come until the composition of the E-flat piano concerto, K.271, in January 1777. Thus all of the five violin concertos precede the “mature” Mozart concerto, which is not at all the same thing as saying that they are “immature” pieces. Even within the space of the nine months during which they were composed, Mozart’s concerto technique underwent substantial development, and the last three of the five concertos have long been a regular part of the repertory. Whatever it was that happened during the three months between the composition of the Second and Third violin concertos, it had the effect of greatly deepening Mozart’s art, of allow- ing him to move beyond the pure decoration of the galant style to a more sinewy and spacious kind of melody. The Adagio is wonderfully dreamy, with muted upper strings in triplets; pizzicato cello and bass impart some of the same expressive qualities as the slow movement of the much later C major piano concerto, K.467. The Rondeau is a sprightly 3/8 dance in Allegro tempo. The biggest surprise comes with a change of meter (2/2) and the appearance of a totally new idea in G minor, a graceful dance step for the solo violin over pizzicato strings, which in turn runs directly into a livelier tune of folklike character. The wind instruments withdraw from prominence for a time after the beginning of the recapitulation but return in the whimsical coda, leading the concerto to a surprising and witty ending without any of the stringed instruments.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 43 Antonín Dvoˇrák (1841-1904) Symphony No. 7 in D minor, Opus 70 First performance: April 22, 1885, London Philharmonic Society, Dvoˇrák cond. First BSO performances: October 1886, Wilhelm Gericke cond. First Tanglewood performance: July 19, 1968, Stanislaw Skrowaczewski cond. Most recent Tanglewood performance by the BSO: July 23, 2004, Hans Graf cond. Five years elapsed between the composition of Dvoˇrák’s Sixth and Seventh symphonies, but they were years of increasing fame and busy composition in other genres, including the brilliant Scherzo capriccioso, the dramatic Hussite Overture, and the closely argued F minor trio. His opera Dmitri (which, in terms of its plot, is a sequel to Mussorgsky’s Boris Godunov) had been performed in Prague and the comic opera The Cunning Peasant in Hamburg. Most important for Dvoˇrák’s international reputation, though, was the extraordinary popularity that he enjoyed in London after Joseph Barnby introduced his Stabat Mater in 1883. He himself conducted the Stabat Mater and other works, including the Sixth Symphony, during a London visit made in the spring of 1884 at the invitation of the Royal Philharmonic Society. Throughout his visit he was warmly fêted by the English. As he wrote to a friend, I am convinced that England offers me a new and certainly happier future, and one which I hope may benefit our entire Czech art. The English are a fine people, enthusiastic about music, and it is well known that they remain loyal to those whose art they have enjoyed. God grant that it may be so with me. Not long after his return home, Dvoˇrák learned that the Philharmonic Society had elected him a member; at the same time, the society requested a new symphony. Though the commission was tendered in June, Dvoˇrák did not rush into the work. In fact, he waited six months before starting to sketch, and even then the composition involved more than his usual amount of preliminary work and later rewriting. No doubt he was consciously aiming to do his best not only for the English orchestra that requested the work, but also for his mentor Johannes Brahms, whose Third Symphony, performed just a short time before, was both a challenge and an inspiration as Dvoˇrák once again prepared to enter the lists of symphonic composition. Many writers consider the resulting symphony to be Dvoˇrák’s greatest single achievement, a work of powerful and varied moods, a nationalistic symphony that offers more than quaint touristy views of peasant dances (a stereotype of the nationalistic schools), that offers, indeed, the highest degree of musical seriousness and reﬁnement. When the score was published in the autumn of 1885, his publisher Simrock’s title page contributed to a long-lasting confusion in the numbering of the Dvoˇrák symphonies. Since it was only the second of his symphonies to appear in print, it was published as “No. 2.” But the manuscript described the work as Dvoˇrák’s “6th Symphony”—and it was actually his seventh! (He had composed a symphony early on for entry in a competition, and when he was unable to get the score back afterwards, he apparently assumed that the work was lost forever, and numbered his remaining symphonies for the rest of his life as if he had never composed that early ﬁrst symphony. That score was rediscovered after Dvoˇrák’s death, and the standard numbering now follows the order of composition.) The published score bore no dedication—not even to the Philharmonic Society. But Dvoˇrák’s manuscript bears a private inscription. After he had heard a pair of stunning performances of the symphony given in Berlin under the direction of Hans von Bülow on October 27 and 28, 1889, the composer pasted a photograph of von Bülow to the title page of his score and added the words, “Hail! It was you who brought the work to life!”

44 Dvoˇrák’s enthusiasm for von Bülow’s performance was in part caused by the fact that this symphony had been received with scant success on the Continent at its first performance, in Vienna, under Hans Richter. Richter himself had written to the composer expressing his dismay with the reaction of the Viennese audience, then as now among the most conservative to be found in the world. “Our Philharmonic audiences,” wrote Richter, “are often—well, let us say, queer. I shan’t, however, let that put me off.” But Richter noted that the new symphony absolutely required “a dramatically trained conductor—a Wagnerian (Hans Bülow will forgive me!)” to do full justice to its range of mood. The symphony opens with a theme of deep Slavic foreboding, lyrical in character but built of motives that could serve as the germ for development. The first page of the final score contains a note in the composer’s hand that reveals, “The main theme occurred to me when the festival train from Pest arrived at the State station in 1884.” The theme certainly has little of “festival” character, but the train in ques- tion (Dvoˇrák was noted for his fondness for locomotives and his familiarity with their schedules) brought dozens of anti-Hapsburg patriots to a National Theater Festival in Prague, so it is not unlikely that the Czech colorations in melody and harmony arose from his patriotic mood. Some of the transitional themes are related to ideas in the Hussite Overture, another recent patriotic score composed in memory of the 14th-century Czech religious reformer Jan Hus; these, too, no doubt arose from patriotic connections in Dvoˇrák’s mind. These stern reflections usher in a rocking, sunny secondary theme that contrasts strikingly with the other material. The con- centration of both development and recapitulation make this one of Dvoˇrák’s densest symphonic movements in terms of sheer quality of incident. The Poco adagio begins with a square-cut melodic phrase that comes to its ordained end after eight measures, raising visions of possible theme-and-variations form with a series of starts and stops. But immediately after the statement of that theme, the musical thought opens out to become increasingly chromatic and expressive in a movement filled with wonderful touches of poignancy and colorful elaboration in the orchestral writing. The scherzo is written in 6/4 time, but from the beginning there is an exhilarating conflict between the two beats per measure of 6/4 (in the accompaniment) and the three beats per measure of 3/2 that the ear perceives in the melody. This is, in fact, a furiant, a characteristic Czech dance. Dvoˇrák worked hard at the rhythmic lightness evident throughout this utterly delightful movement, so spontaneous in effect that it is difficult to realize the amount of sketching and rewriting that went into its bub- bling effervescence. In stark contrast, the finale begins in a mood of tragedy—starting right from the intense opening phrase, the last three notes of which are repeated to begin a slow, hymnlike march—with vivid themes developed to a majestic close that only turns definitively to the major in the last bars.

STEVEN LEDBETTER Walter H. Scott

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 45 Guest Artists Ludovic Morlot The French conductor Ludovic Morlot is music director of the Seattle Symphony, with which during the 2014-15 season he presented a wide variety of works ranging from Mozart’s Requiem, Dvoˇrák’s last three symphonies, Berlioz’s Roméo et Juliette, and Mahler’s Symphony No. 3 to Ives, Dutilleux, and Salonen, as well as premieres by Sebastian Currier, Julian Anderson, and Trimpin. Complemented by their highly innovative series “Untuxed” and “Untitled,” the season also saw the release of several more recordings on the orchestra’s new label, Seattle Symphony Media. Mr. Morlot was chief conductor of La Monnaie in Brussels for three years (2012-14), during which time he conducted several new productions, including La clemenza di Tito, Jen˚ufa, and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by Beethoven, Stravin- sky, Britten, Webern, and Bruneau. During the 2014-15 season, he returned to both the Los Angeles Philharmonic and Chicago Symphony Orchestra; his two subscription weeks with the latter included the world premiere of Anne Clyne’s Violin Concerto. Ludovic Morlot also maintains a strong connection with the Boston Symphony Orchestra, which he conducts regularly in Boston and Tanglewood, and conducted on a tour to the west coast of America in November and December 2011. This relationship began in 2001 when he was the Seiji Ozawa Fellowship Conductor at the Tanglewood Music Center; he was subsequently appointed assistant conductor for the orchestra and its music director James Levine, holding that post from 2004 to 2007. Mr. Morlot has also conducted the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Pittsburgh Symphony. He has conducted the London Philharmonic Orchestra at the Royal Festival Hall in London and on tour in Germany. Recent note- worthy performances have also included appearances with the Royal Concertgebouw, Czech Philharmonic, Dresden Staatskapelle, the Tonhalle in Zurich, the Budapest Festival Orchestra, Orchestre National de France, the Danish National Symphony, Rundfunk-Sinfonieorchester Berlin, and Tokyo Philharmonic. From 2002 to 2004 Ludovic Morlot served as conductor-in-residence with the Orchestre National de Lyon under David Robertson. Trained as a violinist, he studied conducting at the Royal Academy of Music in London and then at the Royal College of Music as recipient of the Norman del Mar Conducting Fellowship. He was elected a Fellow of the Royal

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46 Academy of Music in 2014 in recognition of his significant contribution to music and is Chair of Orchestral Conducting Studies at the University of Washington School of Music in Seattle. Ludovic Morlot’s most recent appearance with the Boston Symphony Orchestra was at Tanglewood in July 2013, leading music of Dvoˇrák and Prokofiev. This summer at Tanglewood he also leads the Tangelwood Music Center Orchestra, in music of Wagner and Debussy on Monday night, July 13, in Ozawa Hall.

Pinchas Zukerman Equally acclaimed as violinist, violist, conductor, pedagogue, and chamber musician, Pinchas Zukerman has been a presence in the world of music for over four decades, recognized by both audiences and critics. Devoted to the next generation of musicians, he has inspired younger artists with his magnetism and passion. His enthusiasm for teaching has resulted in innovative programs in London, New York, China, Israel, and Ottawa. Mr. Zukerman’s 2014-15 season has included more than 100 performances worldwide, bringing him to multiple destinations in North America, Europe, Africa, Asia, and Australia. He completed his six- teenth and final season as music director of the National Arts Centre Orchestra of Ottawa, with which he toured the United Kingdom in October 2014. In his sixth season as principal guest conductor of the Royal Philharmonic Orchestra in London, he led the ensemble in concerts at home in the United Kingdom as well as on its January 2015 tour of Florida. Additional orchestral engagements have taken him to the Colorado, San Diego, Kansas City, and Tucson symphonies. Overseas he made guest appearances with the Budapest Festival Orchestra, Salzburg Camerata, Berlin Staatskapelle, Maggio Musicale Fiorentino, Korean Chamber Orchestra, Bam- berger Symphoniker, and Philharmoniker Hamburg. He returned to Australia for appearances with the Queensland Symphony Orchestra and West Australian Symphony Orchestra in Perth. Rounding out the season are recital appearances in Berlin, Istanbul, Seattle, San Diego, and Ottawa, and tours with the Zukerman ChamberPlayers to Italy, Spain, Australia, China, Japan, and Korea. Over the last decade, Pinchas Zukerman has become as noted a conductor as he is an instrumentalist, leading many of the world’s top ensembles in a wide variety of orchestral repertoire. A devoted and innovative pedagogue, he chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pioneered the use of distance-learning technology in the arts. In Canada he has established the NAC Institute for Orchestra Studies and the Summer Music Institute encompassing the Young Artists, Conductors, and Composers programs. Born in Tel Aviv in 1948, Pinchas Zukerman came to America in 1962 and studied at the Juilliard School with Ivan Galamian. He has been awarded the Medal of Arts and the Isaac Stern Award for Artistic Excellence, and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. His extensive discography of more than 100 titles has earned twenty-one Grammy nominations and two Grammy awards. Mr. Zukerman made his BSO debut as violin soloist in July 1969 at Tanglewood, subsequent Tanglewood appearances including his BSO conducting debut in July 1977. He made his BSO subscription series debut in January 1979 performing on both violin and viola. His most recent subscription appearances with the orchestra were in April 2013 as soloist in Oliver Knussen’s Violin Concerto with the composer conducting. His most recent Tanglewood appearance with the BSO was in July 2013, as conductor and soloist for a program of Vivaldi, Bach, and Telemann.

TANGLEWOODWEEK 2 GUESTARTISTS 47 Maestro Circle

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

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

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Carol and Irv Smokler • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman •

48 Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Linda and Edward Wacks • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Elaine and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Mr. and Mrs. Martin G. Isserlis • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 - $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone •

TANGLEWOODWEEK 2 SOCIETYGIVINGATTANGLEWOOD 49 Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs and the Briggs Family • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin •

50 Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Mr. and Mrs. John Schwebel • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (4)

TANGLEWOODWEEK 2 SOCIETYGIVINGATTANGLEWOOD 51

Stu Rosner

54 Tanglewood Major Corporate Sponsors 2015 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to be returning for a second season as sponsor of the Boston Pops at Tanglewood. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast®. Learn more at VisitSarasotaArts.org.

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

TANGLEWOODWEEK 2 MAJORCORPORATESPONSORS 55 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

July at Tanglewood Monday, July 6, 7pm MEMBERS OF THE BOSTON POPS BRASS & PERCUSSION SECTIONS Wednesday, July 1, 8pm BOSTON CRUSADERS BOSTON SYMPHONY CHAMBER PLAYERS BLUE DEVILS RANDALL HODGKINSON, piano Tanglewood Brass Spectacular! NATHAN Why Old Places Matter, for oboe, Wednesday, July 8, 8pm horn, and piano NIELSEN Wind Quintet, Op. 43 LEON FLEISHER and THE FLEISHER- JACOBSON PIANO DUO BRAHMS (arr. BOUSTEAD) Serenade No. 1 in D, Op. 11, arranged for winds and strings LEON FLEISHER, piano KATHERINE JACOBSON, piano Thursday, July 2, 8pm Music of Bach, Debussy, Brahms, Schubert, APOLLO’S FIRE—The Cleveland Baroque and Ravel Orchestra Thursday, July 9, 8pm JEANNETTE SORRELL, music director and conductor BRYN TERFEL, bass-baritone A Night at Bach’s Coffee House NATALIA KATYUKOVA, piano Music of J.S. Bach, Telemann, Handel, and Friday, July 10, 6pm (Prelude Concert) Vivaldi MEMBERS OF THE BSO Friday, July 3, 6pm (Prelude Concert) All-Dvoˇrák program

BOSTON CELLO QUARTET Friday, July 10, 8:30pm A program of Spanish and Latin music BSO—STÉPHANE DENÈVE, conductor Friday, July 3, 8:30pm CAMERON CARPENTER, organ Opening Night at Tanglewood BARBER Adagio for Strings All-American Program POULENC Concerto for Organ, Strings, and BSO—JACQUES LACOMBE, conductor Timpani KIRILL GERSTEIN, piano SAINT-SAËNS Symphony No. 3, Organ JESSYE NORMAN, speaker To be followed at 10:45 by a short solo organ recital by Cameron Carpenter HARBISON Remembering Gatsby (Foxtrot for Orchestra) Saturday, July 11, 10:30am GERSHWIN Piano Concerto in F Open Rehearsal (Pre-Rehearsal Talk, 9:30am) COPLAND Lincoln Portrait BSO program of Sunday, July 12 ELLINGTON Harlem Saturday, July 11, 8:30pm Saturday, July 4, 11am BSO—BRAMWELL TOVEY, conductor FAMILY CONCERT SONDRA RADVANOVSKY, GWYN HUGHES Music for brass quintet JONES, BRYN TERFEL, JOHN DEL CARLO, Saturday, July 4, 7pm and RYAN SPEEDO GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS JAMES TAYLOR AND HIS ALL-STAR BAND Fireworks to follow the concert All-Italian program including PUCCINI Tosca, Act I Sunday, July 5, 2:30pm Sunday, July 12, 2:30pm BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor BSO—LUDOVIC MORLOT, conductor BERNADETTE PETERS PINCHAS ZUKERMAN, violin JOHN LUTHER ADAMS The Light That Fills Sunday, July 5, 8pm Ozawa Hall the World TMC ORCHESTRA—STEFAN ASBURY MOZART Violin Concerto No. 3 in G, K.216 and TMC Conducting Fellows MARZENA DVORÁKˇ Symphony No. 7 KIAKUN and RUTH REINHARDT, conductors Music of Britten, Brahms, Williams (TMC75 Monday, July 13, 8pm world premiere), and Sibelius TMC ORCHESTRA—LUDOVIC MORLOT and TMC Conducting Fellows MARZENA KIAKUN and RUTH REINHARDT, conductors JAMES SOMMERVILLE, horn Music of Wagner, Hindemith, Golijov (TMC75 world premiere), and Debussy

Tuesday, July 14, 8pm Tuesday, July 21, 8pm JAZZ AT LINCOLN CENTER ORCHESTRA PAUL LEWIS, piano with WYNTON MARSALIS All-Beethoven program: the last three piano sonatas, Opp. 109, 110, 111 Thursday, July 16, 8pm BAIBA SKRIDE, violin Wednesday, July 22, 8pm SARAH CONNOLLY, mezzo-soprano EMERSON STRING QUARTET CHRISTIAN ZACHARIAS, piano Music of Ives, Liebermann, and Beethoven CATHY BASRAK, viola Music of Mozart and Schumann Friday, July 24, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 17, 6pm (Prelude Concert) Music of Bolcom and Shapero MEMBERS OF THE BSO Music of Barber and Shostakovich Friday, July 24, 8:30pm BSO—CHRISTOPH VON DOHNÁNYI, Friday, July 17, 8:30pm conductor BSO—CHRISTIAN ZACHARIAS, conductor VADIM GLUZMAN, violin BAIBA SKRIDE, violin ALL-BEETHOVEN PROGRAM SCHUMANN Manfred Overture Symphony No. 4; Violin Concerto MOZART Rondo in C, K.373, for violin and orchestra Saturday, July 25, 10:30am MOZART Violin Concerto No. 5 in A, K.219 Open Rehearsal (Pre-Rehearsal Talk, 9:30am) SCHUMANN Symphony No. 2 BSO program of Sunday, July 26

Saturday, July 18, 10:30am Saturday, July 25, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—MICHAEL TILSON THOMAS, BSO program of Sunday, July 19 conductor EMANUEL AX, piano Saturday, July 18, 8:30pm MOZART Piano Concerto No. 14 in E-flat, BSO—CHRISTIAN ZACHARIAS, conductor K.449 and pianist MAHLER Symphony No. 5 SARAH CONNOLLY, mezzo-soprano Sunday, July 26, 2:30pm ALL-MOZART PROGRAM Piano Concerto No. 25 in C, K.503; “Ch’io mi BSO—CHRISTOPH VON DOHNÁNYI, scordi di te,” Concert aria for soprano and conductor orchestra with piano, K.505; “Deh per questo ALL-MOZART PROGRAM istante solo” from La clemenza di Tito; Symphonies 39, 40, and 41, Jupiter Symphony No. 38, Prague Thursday, July 30, 8pm Sunday, July 19, 2:30pm THE KNIGHTS BSO—SIR NEVILLE MARRINER, conductor AWET ANDEMICAEL, NICHOLAS PHAN, PAUL LEWIS, piano and KYLE KETELSEN, vocal soloists MOZART Symphony No. 35, Haffner KEVORK MOURAD, visual artist SCHUMANN Piano Concerto Music of Boccherini, Ravel, Falla, de Lucía, MOZART Symphony No. 36, Linz de Nebra, and Geminiani; readings of Pablo Neruda poetry with musical improvisation; Sunday, July 19, 8pm and Falla’s Master Peter’s Puppet Show AUDRA MCDONALD Friday, July 31, 6pm (Prelude Concert) ANDY EINHORN, music director and piano MARK VANDERPOEL, string bass MEMBERS OF THE BSO GENE LEWIN, drums Music of Frescobaldi, Berger, and Stravinsky Friday, July 31, 8:30pm BSO—KEN-DAVID MASUR, conductor GARRICK OHLSSON, piano WEBER Overture to Der Freischütz SCHUBERT Symphony No. 4, Tragic BEETHOVEN Piano Concerto No. 5, Emperor

Programs and artists subject to change. 2015 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm Saturday, July 11, 6pm Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Fromm Music Foundation, COPLAND Symphonic Ode the National Endowment for the Arts, and the BEETHOVEN Symphony No. 9 Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have combined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. Young Artists Wind Ensemble concerts and the Honors Concert are not tick- eted and are open to the public. For a full listing of events, visit bu.edu/tanglewood.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

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 • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Joanne Trebelhorn, Tanglewood Operations Manager

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Angelina Collins, Accounting Manager • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Melissa Farrington, Associate Director of Special Events, Promotions, and Social Media • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Lee • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-chair, Tanglewood Business Partners Committee Mary Jane White, Co-chair, Tanglewood Business Partners Committee Accounting/Tax Services Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder Advertising/Marketing/Consulting Barry L. Beyer • Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffee House Automotive Autobahn Service • Balise Lexus • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan) Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc. • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC • Savory Harvest Catering Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy Lipton Energy • VIKING FUEL OIL CO. INC. Financial Services American Investment Services • Frank Battista, CFP® • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance • Jacqueline A. Metsma • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Berkshire Legacy • Birchwood Inn • BLANTYRE • The Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires • Devonfield Inn • An English Hideaway Inn • THE GARDEN GABLES INN • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D., PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, MSW • Dr. Joseph Markoff • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • SECURITY SELF STORAGE Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, Inc. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc. • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant Retail: Clothing Arcadian Shop • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade • SoCo Creamery • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon Peter Alvarez Salon • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Classical Tents & Party Goods • Greylock Design Associates • Mahaiwe Tent, Inc. • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Pignatelli Electric • Michael Renzi Painting Co. LLC Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

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

One Million

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

Koussevitzky Music Shed

Seiji Ozawa Hall