Summer 2013 Boston Symphony Orchestra

boston symphony orchestra summer 2013

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

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

Overseers Emeriti

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

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

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

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

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

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

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

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

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

In Consideration of Our Performing Artists and Patrons

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

Tanglewood Information

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

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2013

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

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

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

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

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

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

Table of Contents

Friday, August 9, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA; ALLEGRA LILLY, harp; MICHAEL ISRAELIEVITCH and SAMUEL Z. SOLOMON, percussion Music of Golijov, Schnittke, Celli, and Tan Dun

Friday, August 9, 8:30pm 10 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting; GIL SHAHAM, violin Music of Sibelius and Brahms

Saturday, August 10, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting; YEFIM BRONFMAN, piano Music of Carter, Beethoven, and Brahms

Sunday, August 11, 2:30pm 33 BOSTON SYMPHONY ORCHESTRA CHRISTIAN ZACHARIAS, conductor and piano All-Beethoven program

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 9, are pianist Yefim Bronfman and composer George Benjamin, whose acclaimed 2012 opera Written on Skin receives its United States premiere on Monday night, August 12, to conclude this summer’s Festival of Contemporary Music at Tanglewood. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

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

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

TANGLEWOODWEEK 6 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, August 9, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ARLENE AND JEROME LEVINE CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA MICKEY KATZ, cello DANIEL BAUCH, percussion (Golijov, Schnittke) KYLE BRIGHTWELL, percussion with ALLEGRA LILLY, harp MICHAEL ISRAELIEVITCH, percussion SAMUEL Z. SOLOMON, percussion

GOLIJOV “Mariel,” for cello and marimba

SCHNITTKE “Hymn I,” for cello, harp, and kettledrums

CELLI “Snare Drum for Camus”

TAN DUN “Elegy: Snow in June,” for cello and percussion

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

NOTES ON THE PROGRAM

Osvaldo Golijov (b.1960), like Schnittke and Tan Dun also on this program, is a composer of inclusive curiosity whose eclectic approach was influenced by his multi- cultural experience growing up in La Plata, Argentina, in a family with Eastern Euro- pean Jewish roots. His first really well-known piece, The Dreams and Prayers of Isaac the Blind for clarinet and string quartet, invoked klezmer; he has tapped into Sephardic music for the folksong cycle Ayre, flamenco, gypsy, and Arab musics for the opera Ainadamar, and a potpourri of different Latin American traditions for La Pasión según San Marcos, which was given its American premiere by the Boston Symphony Orchestra in 2001.

2 Golijov’s inherent sense of exploration, his tendency to find inspiration throughout many facets, musical or otherwise, of many cultures, was nurtured by studies with the similarly exploratory composers Mark Kopytman in Israel and George Crumb in the United States. His time as a Tanglewood Fellow led to relationships with the St. Lawrence and Kronos string quartets, both of whom have championed his music, and one of his most important collaborators has been the soprano Dawn Upshaw, for whom he wrote Ayre as well as the role of Margarita Xirgu in the opera Ainadamar. Atlanta Symphony Orchestra music director Robert Spano has programmed many of his works and recorded Ainadamar and a disc including his Three Songs for soprano and orchestra and Oceana. He is a self-noted film buff as well, and has written music for movies including Sally Potter’s The Man Who Cried and Francis Ford Coppola’s Youth Without Youth, Tetro, and Twixt. Golijov wrote the cello and marimba work Mariel in 1999 and later created a version for cello and orchestra. The piece is a wistful lament for its namesake, Golijov’s friend Mariel Sturbin: “I attempted to capture that short instant before grief, in which one learns of the sudden death of a friend who was full of life: a single moment frozen forever in one’s memory, and which reverberates through the piece, in the waves and echoes of the Brazilian music that Mariel loved.” Alfred Schnittke (1934-1998) emerged as a leading Soviet composer from the post- Shostakovich generation of the second half of the twentieth century. Upon graduating from the Moscow Conservatory in the 1960s, his early work reflected the modernist and avant-garde sentiments of the time. Ultimately, however, he became best known for his polystylistic technique, which synthesized a number of different musical languages; his monumental First Symphony, completed in 1972, marked his passage into polystylism with its blend of experimental elements and quotations from various musical eras. By the close of the 1970s his work became increasingly religious in nature, and towards the end of his life he moved toward a more intimate, personal style. His catalogue includes a number of string pieces, often composed for the many string players with whom he formed close friendships. His Hymns I-IV for cello and ensemble, composed between 1974 and 1979, were dedicated to Austrian cellist Heinrich Schiff. Hymn I for cello, harp, and kettledrums traces the slow development of a meditative theme that grows in intensity and expressivity before being absorbed back into its initial contemplative state. It opens with strummed chords in the cello and harp,

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 3 whose rattling, echoing dissonance signifies entrance into a strange world as it leads into the opening section. The chords return throughout the piece, often signaling the start of a new section. In its first variations, the piece is intensely focused and inward, as though the cello is lost in its thoughts as it quietly plays pizzicato along with the harp and timpani. It barely moves beyond the range of a few notes and proceeds in steady, stepwise motion with a measured, ritualistic tread. As the opening theme is gradually developed through a series of variations, the cello moves increasingly outwards and gives its voice greater expression. By the third section, the cello is playing with bow; by the fifth, it is fully released, climbing up jagged flurries of notes to pour out its melody. At the height of its cries, the timpani take over with tremendous crashing waves. Suddenly, the cello reverts to its initial meditation, once again plucking in measured step with the harp, resuming its vigil as though nothing has happened. Whether or not the spare beauty of the ritual can entirely sweep away the anguish underneath, however, remains a question. Joseph Celli (b.1944) is a Bridgeport, Connecticut-based virtuoso double-reed instru- mentalist and composer. He attended the Hartt School of Music at the University of Hartford, Oberlin College Conservatory, and Northwestern University, and was a private student of the late Boston Symphony Orchestra oboist Wayne Rapier, among others. He traveled to Korea on a Fulbright grant to study indigenous double reed instruments, and has also studied the Japanese hichiricki. He has been director of the American new music label OO Discs and founded the cross-boundary Korean Performing Arts Institute. As a performer, he premiered a work by Ornette Coleman commissioned for him and the Kronos Quartet and has recorded music of Phill Niblock, Jin Hi Kim, Karlheinz Stockhausen, and many others, as well as performing with Ornette Coleman, Alvin Curran, and Jin Hi Kim. Celli’s Snare Drum for Camus (1982; Camus is the name of the composer’s son) calls for a single snare drum with two to four performers; this can optionally be performed along with video of a performance shot from above the snare drum (omitted in this concert). Snare Drum for Camus is one of those otherwise out-of-the-way pieces that seemingly every percussionist of the past thirty years has played at some time or another. The piece is reminiscent of certain African drumming in interweaving (relatively) simple, definitely pulsed patterns played individually by the drummers. Each player gradually moves his sticks from the perimeter of the drum, on the rim,

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4 toward the center; in the process the sound changes from bright and dry on the metal edge of the drum to the resonant middle of the drumhead. Then this movement is reversed, creating a long, slow shift in timbre. (Interestingly, the snare on the drum is never actually engaged.) The length of the performance is determined by the performers and can vary widely. The Chinese composer Tan Dun (b.1957), who has since the 1980s divided his time among China, the U.S., and elsewhere, grew up in Hunan Province, and during the Chinese Cultural Revolution (1966-76) was sent as a young adult to work in the western provinces planting rice. While there, he also began his own study of the region’s folk music and organized impromptu ensembles, often consisting of untrained players with found objects; they gave performances of ghost operas, and for specific occasions. He also worked with a Peking Opera troupe as a violinist and arranger. When he was able to continue his formal training in music at the Beijing Central Conservatory after the end of the Cultural Revolution, he brought this on- the-fly, elemental spirit to bear on his approach to both Western and Chinese musical traditions. Much of his work still contains the seeds of the ritualistic and theatrical music he experienced as a child and young man. One of Tan Dun’s first experiences of music from the West was seeing a concert of the Boston Symphony Orchestra and Seiji Ozawa during the BSO’s first visit to China in 1979. By the early 1980s he had received some recognition as a composer, but in 1983 performances of his music were banned for a time because of his inclu- sion of modern Western techniques. In 1986 he moved to New York to continue his studies at Columbia University, one of several Chinese who were drawn to the U.S. at the invitation of the important Chinese expatriate composer Chou Wen-chung. In his formal studies he learned the various techniques of the Western tradition through the study of music of Bartók, Schoenberg, and Stravinsky, but in the example of John Cage he found a particular kindred spirit, one that encouraged a blending of Eastern and Western techniques and the freedom to go beyond both. Many of Tan Dun’s works incorporate pre-recorded sound, electronics, amplification, computer controllers, stage lighting, film, or video, including the four Orchestral Theatre pieces and his The Map: Concerto for Cello, Video, and Orchestra. The latter, commissioned by the Boston Symphony and premiered by the BSO with Yo-Yo Ma as soloist in February 2003 under the composer’s direction, has a significant video element, mostly documentary footage, collected by the composer, of Chinese folk musicians from Hunan Province; the orchestra and soloist are synchronized to these recorded performances to create a true multimedia experience. Just a step or two removed from one another are his Academy Award-winning score for the film Crouching Tiger, Hidden Dragon and his opera The First Emperor, commissioned and premiered by the Metropolitan Opera in 2006. His work taps into a continuum of influences from pop music to modernist classical and from Hunan Province to Hollywood.

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 6 PRELUDEPROGRAMNOTES 5 An important early chamber work, Elegy: Snow in June, for cello and four percussion, explores the cello’s almost vocal quality in melodic lines strongly rooted in Chinese traditional music, along with a vast range of subtle and unexpected sounds both in the cello and in the big collection of percussion instruments. The piece has an improvisatory, incantatory quality. The composer has written: The image of snow in June comes from a 13th-century Chinese drama by Kuan Han-Ching, in which a young woman, Dou Eh, is executed for crimes she did not commit. Even nature cries out for her innocence: her blood does not fall to earth, but flies upward, a heavy snow falls in June, and a drought descends for three years. Elegy sings of pity and purity, beauty and darkness, and is a lament for victims everywhere. The work is a set of free variations. Beginning with sparse, searching phrases, it coalesces to the theme found in the middle, then disperses again. The voice of the cello opposes and joins four groups of percussion which each are given solo passages. The singing of the cello contrasts with the sound of tearing paper, the roughness of stones and cans. Elegy was commissioned by the New Music Consort, and first performed by Madeleine Shapiro (cello), Claire Heldrich conducting.

Notes by ROBERT KIRZINGER (Golijov, Celli, Tan Dun) and

PAMELA FEO (Schnittke) Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. Pamela Feo, the 2013 Tanglewood Music Center Publications Fellow, is a Boston-based musicologist who works in arts administration. She holds the TMC’s Theodore Edson Parker Foundation Fellowship this summer. Artists

A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo performer, chamber musician, and contemporary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tanglewood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. A passionate performer of new music, he premiered and recorded Menachem Wiesenberg’s Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, György Kurtág, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on challenging new pieces and collaborates with young composers. An active chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marl- boro Festival and Musicians from Marlboro tour, collaborating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kashkashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he completed his mandatory military service in Israel as a part of the “Distinguished Musician Program,” playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in many outreach and educational concerts for soldiers and

6 other audiences. Mr. Katz occupies the Stephen and Dorothy Weber Chair in the BSO’s cello section. Daniel Bauch, who occupies the Mr. and Mrs. Edward H. Linde Chair in the BSO’s percussion section, joined the Boston Symphony in the fall of 2009, having previously been assistant principal timpanist and percussionist with the Detroit Symphony for three years. He began playing percussion at seven and during high school studied with the BSO’s Timothy Genis and Will Hudgins, then earned a bachelor’s degree from the Juilliard School in 2002 under the tutelage of Daniel Druckman. While in New York he performed in concert with pianist Maurizio Pollini as part of a Carnegie Hall Perspectives Series, premiered a new work by Osvaldo Golijov with Dawn Upshaw and the Orpheus Chamber Orchestra in Carnegie Hall, and recorded a CD with the New York New Music Ensemble (Albany Records). He earned a master’s degree from Boston University studying with Timothy Genis and following graduation was on the faculty there for two years. In Boston, he frequently performed with local contemporary music ensembles and appeared as a soloist with the Alea III ensemble, also playing as a guest performer with the New York Philharmonic, Boston Symphony, Boston Ballet, Marlboro Festival Orchestra, Hartford Symphony, Spring- field Symphony, and Orpheus Chamber Orchestra. Also a founding member of New Music Detroit, a contemporary chamber group made up of Detroit Symphony players, he has attended the Music Academy of the West in Santa Barbara and was a Tanglewood Music Center percussion fellow in 2001 and 2002. He has presented master classes in the United States and abroad, and currently serves during the summer as the percussion faculty member for the BUTI Young Artist Orchestra. Kyle Brightwell joined the percussion section of the Boston Symphony Orchestra in the fall of 2012, occupying the Peter Andrew Lurie Chair. Mr. Brightwell began his musical studies on piano and guitar at age four, and began focusing on percussion

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 7 studies at eleven. In addition to the BSO, he has performed with the U.S. Navy Band, U.S. Army Orchestra, Orquestra Sinfoˆnica da Bahia (Brazil), Boston Philharmonic, New World Symphony, Kansas City Symphony, and the Dubuque Symphony Orches- tra, with which he made his solo debut performing James MacMillan’s Veni, Veni, Emmanuel in March 2012. Summer engagements have included fellowships at the Tanglewood Music Center, Pacific Music Festival, and National Orchestral Institute. This summer and last he has taught at the Boston University Tanglewood Institute (BUTI), where he spent three years as a high school student. Besides his performance career, Mr. Brightwell is also dedicated to community outreach through music. While living in New York City, he was a faculty member of the Juilliard School’s Music Advancement Program (MAP) for underprivileged inner city youth, and was also appointed a Fellow of the Gluck Community Service Fellowship (GCSF), for which he performed concerts throughout New York in homeless shelters, psychiatric wards, AIDS centers, and other venues in need of music. He is a graduate of the Juilliard School, where he studied with New York Philharmonic percussionist Daniel Druckman. He received his master’s degree in spring 2012 from Boston University, where he studied with BSO timpanist Timothy Genis. Allegra Lilly was appointed principal harpist of the St. Louis Symphony in April 2013 and will join the orchestra at the start of the 2013-14 season. She has appeared with the New York Philharmonic, the Boston, Chicago, Pittsburgh, Toronto, and Charlotte symphony orchestras, and the St. Paul Chamber Orchestra, under such conductors as Lorin Maazel, Christoph Eschenbach, Bernard Haitink, James Levine, Charles Dutoit, Esa-Pekka Salonen, Michael Tilson Thomas, and Rafael Frühbeck de Burgos, and has been principal harpist at Lorin Maazel’s Castleton Festival. As a chamber musician, Ms. Lilly has performed with the Argento Chamber Ensemble, AXIOM

8 Ensemble, and Washington Square Ensemble, and is a frequent guest artist with Carnegie Hall’s Ensemble ACJW. An avid promoter of new music, she gave the New York premiere of Augusta Read Thomas’s Absolute Ocean for soprano, harp, and chamber orchestra and has performed the American premieres of operas by Philip Glass, Guo Wenjing, and Toshio Hosokawa at Spoleto Festival USA, as well as the New York premiere of William Kraft’s Encounters XII. Born in Detroit, Michigan, Ms. Lilly began her study of the harp with Ruth Myers at age seven. At eighteen she moved to New York, to join the studio of New York Philharmonic principal harpist Nancy Allen at the Juilliard School, where she earned bachelor’s and master’s degrees. The winner of numerous competitions and awards, she performs primarily on a 2001 Lyon & Healy Salzedo. Michael Israelievitch is principal timpanist of the Saint Paul Chamber Orchestra, a position he has held since 2010. In demand as an orchestral player, he has appeared as guest principal timpanist on several occasions with the Chicago Symphony, as well as with the orchestras of San Francisco, St. Louis, Detroit, Baltimore, Radio- Sinfonieorchester Stuttgart, and on tour with the Swedish Chamber Orchestra. He has played percussion with the orchestras of Boston, Minnesota, and Kansas City. Solo appearances include the world premieres of new concertos by Kelly-Marie Murphy and Alexander Levkovich with the Toronto Symphony Orchestra. He made his Minnesota concerto debut with Roberto Abbado and the SPCO in MacMillan’s Veni, Veni, Emmanuel, and has collaborated with artists including Martha Argerich, Measha Brueggergosman, Nelson Freire, Peter Oundjian, and his father Jacques Israelievitch. He has performed chamber music at the Verbier Festival, Ottawa International Chamber Music Festival, Chautauqua Festival, and in New York City at Alice Tully Hall and Zankel Hall with pianist Leif Ove Andsnes. He has premiered dozens of works by leading composers including Samuel Adler, Michael Colgrass, and Libby Larsen. A former student of Daniel Druckman and Roland Kohloff at the Juilliard School, he completed his master’s degree in 2007 at Boston University working with Timothy Genis. He spent two-and-a-half seasons as Timpani Fellow at the New World Symphony, where he has since returned as teacher and coach. He currently serves on the percussion faculty of the Boston University Tanglewood Institute. Samuel Z. Solomon teaches percussion at the Boston Conservatory, Boston University, and the Boston University Institute. From 2007 to 2011 he was president of the Massachusetts Chapter of the Percussive Arts Society. His book, How to Write for Percussion, has received critical acclaim from composers, performers, and conductors worldwide and will soon be available in three languages. He has also written three books on percussion playing and curated two collections of percussion etudes and solos. Mr. Solomon is founding member of the Yesaroun’ Duo and the Line C3 percussion group. From 2005 to 2010 he was percussionist-in-residence at Harvard University, and since 2003 he has been principal timpanist of the Amici New York chamber orchestra. He can be heard as soloist and chamber musician on the GM, Albany, Bedroom Community, and Tzadik labels, as well as performing the music of Björk on her soundtrack to Matthew Barney’s film Drawing Restraint 9. He lives in Hull, Massachusetts, with his wife Kristy and sons Nicolas and Leo. Please visit www.szsolomon.com for more.

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 9 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, August 9, 8:30pm

CHRISTOPH VON DOHNÁNYI conducting

SIBELIUS Violin Concerto in D minor, Opus 47 Allegro moderato Adagio di molto Allegro, ma non tanto GIL SHAHAM

{Intermission}

BRAHMS Symphony No. 2 in D, Opus 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi Andantino) Allegro con spirito

10 NOTES ON THE PROGRAM

Jean Sibelius (1865-1957) Violin Concerto in D minor, Opus 47 First performance: (original version) February 8, 1904, Helsinki, Sibelius cond., Viktor Nováˇcek, violin; (revised version) October 19, 1905, Berlin, Richard Strauss cond., Karl Halir, violin. First BSO performance : April 1907, Karl Muck cond., Maud Powell, violin. First Tanglewood performance : August 5, 1960, Charles Munch cond., Ruggiero Ricci, violin. Most recent Tanglewood performance: July 16, 2011, John Storgårds cond., Nikolaj Znaider, soloist. In no violin concerto is the soloist’s first note—delicately dissonant and off the beat—so beautiful. Indeed, in September 1902, Sibelius wrote to his wife that he had just had “a marvelous opening idea” for such a concerto. But even with that inspired start, the history of the work was troubled. Sibelius was drinking heavily and seemed virtually to be living at Kämp’s and König’s restaurants. He was limit- lessly resourceful when it came to finding ways of running from this work in progress. He behaved outrageously to Willy Burmester, the German violinist who had been concertmaster in Helsingfors for a while in the ’90s, who admired Sibelius and was ambitious on his behalf, who stirred him up to compose a violin concerto, and who of course hoped to give its first performance. Sibelius sent the score to Burmester (“Wonderful! Masterly! Only once before have I spoken in such terms to a composer, and that was when Tchai- kovsky showed me his concerto!”), let word get out that the work would be dedicated to him, but at the same time pushed for a premiere at a time when Burmester was not free or would not have had time to learn a piece that in its original form was still more difficult than it is now. Viktor Nováˇcek—not to be confused with the better-known Ottokar Nováˇcek, composer of a popular Perpetuum mobile— was a violin teacher of no distinction and without reputation as a performer. That he would fail with the concerto was a foregone conclusion, yet that was the destruc- tive path Sibelius chose. After the premiere, Burmester offered his services once again for a series of performances in October 1904—“All my twenty-five years’ stage experience, my artistry and insight will be placed to serve this work... I shall play the concerto in Helsingfors in such a way that the city will be at your feet”—only to find himself passed over again, this time in favor of Karl Halir, concertmaster in Berlin, a former member of the famous Joachim Quartet, and himself a quartet leader of great distinction. Moreover, the dedication finally went to Ferenc von Vecsey, a Hungarian violinist born in 1893, who, in his prodigy days, had been one of the concerto’s earliest champions. From Bach to Bartók, many of the great keyboard concertos have been written by composers for themselves. Rather more of the significant violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at fourteen, but then, “the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition, to become a great virtuoso.” In fact, aside from the handicap of the late start and the provincial level of even the best teaching available to him in Finland, he had neither the gift of physical coordination nor the appropriate temperament. In 1890-91, when he was studying composition in Vienna with Robert Fuchs and Karl Goldmark, he played in the orchestra at the conservatory (its intonation gave him headaches) and on January 9, 1891, auditioned for the Vienna Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterwards he sat at the piano and began to practice scales.” With that he gave up, though a diary entry for 1915 records a dream of being twelve and a virtu-

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 11 oso. The concerto is, in any event, imbued both with his feeling for the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.” The two violin concertos that most extraordinarily explore the structural and expressive potential of cadenzas are Elgar’s and Schoenberg’s. Without intending anything as theatrical or fantastic, Sibelius assigns a role of unprecedented importance to his first-movement cadenza, which, in fact, takes the place and function of the development section. What leads up to that crucial point is a sequence of ideas beginning with the sensitive, dreamy melody that introduces the voice of the soloist and continuing (via a short cadenza of a conventional sort) with a declamatory statement upon which Sibelius’s mark is ineluctable, an impassioned, superviolinistic recitation in sixths and octaves, and so to a long tutti that slowly subsides from furious march music to wistful pastoral to darkness. Out of that darkness the cadenza erupts. It is an occasion for sovereign bravura, and at the same time it is brilliantly, imaginatively, and economically composed. Whether comparing his own work with the Brahms concer- to, which he first heard in Berlin in January 1905, or, many years later, with the Pro- kofiev D major, Sibelius set store by having composed a soloistic concerto rather than a symphonic one. True, there is none of the close-knit dialogue characteristic of the greatest classical concertos from Mozart to Brahms: Sibelius opposes rather than meshes solo and orchestra (or the orchestra as accompanist). True also that the Sibelius is one of the really smashing virtuoso concertos. It would be a mistake, though, to associate it with the merely virtuosic tradition represented by the concertos of, say, Tchaikovsky and Bruch (and perhaps even the elegant Mendelssohn). This first movement with its bold sequence of disparate ideas, its quest for the unity behind them, its drastic substitute for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes of uncommon originality, is one in which the breadth of the symphonist is not to be mistaken. The second and third movements proceed from another level of ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. Between its introductory measures and the main theme there is a fascinating disparity. Clarinets and oboes in pairs suggest an idea of rather tentative tone (and surprisingly Wagnerian cast), a gentle beginning leading to the entry of the solo violin and to a melody of vast breadth. It is to be played sonoro ed espressivo. It speaks in tones we know well and that touch us deeply, and it took me years of knowing it before I realized that the world, the gesture it

12 evokes, is Beethoven’s, and particularly the Cavatina in the B-flat quartet, Opus 130. Sibelius himself never found, perhaps never sought such a melody again: this, too, is farewell. Very lovely, later in the movement, is the sonorous fantasy that accompa- nies the melody (now in clarinet and bassoon) with scales, all pianissimo, broken octaves moving up in the violin, and the soft rain of slow scales in flutes and plucked strings. “Evidently a polonaise for polar bears,” said Donald Francis Tovey of the finale. The charmingly aggressive main theme was an old one, going back to a string quartet from 1890. As the movement goes on, the rhythm becomes more and more giddily inventive, especially in matters of the recklessly across-the-beat bravura embellishments the soloist fires over the themes. It builds a drama that evokes the Dvoˇrák D minor symphony Sibelius so much enjoyed when he heard it in Berlin in 1890, to end in utmost and syncopated brilliance.

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

Johannes Brahms (1833-1897) Symphony No. 2 in D, Opus 73 First performance: December 30, 1877, Vienna, Hans Richter cond. First BSO performance: February 25, 1882, Georg Henschel cond. First BSO Berkshire Festival performance: August 15, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 14, 1938, Koussevitzky cond. Most recent Tanglewood performance: July 15, 2012, Andris Nelsons cond. In a letter to Clara Schumann, Johannes Brahms offhandedly revealed something fundamental about himself: “I always write only half-sentences, and the reader... must supply the other half.” He was talking about his letters, which were often misread, and were often intended to be. In person and on the page, Brahms was chroni- cally given to the oblique, the ironic, the unspoken. Likewise in some of his music we ﬁnd an ironic play of surface appearance and hidden import; but in his art the irony was no joke, rather a symptom of his own thickly shrouded inner world. Another example is the celebrated Brahmsian lyricism. When we think of his warmly lyrical moments we usually think of his instrumental works, rather than where we would expect to ﬁnd that warmth, in his songs. When Brahms was setting words with their inescapable emotions, he pulled back; he only warmed fully within the abstractions of instrumental music. Yet despite his historical reputation as a creator of “pure” music, his life and feelings always went into his work, where they could at once lie hidden and sing for all the world. Perhaps the most regularly misread of Brahms’s major works is his Second Symphony. From the beginning, critics hailed it as a sunny and halcyon vacation from the tur- bulent First Symphony. The Second, everybody said, is Brahms’s counterpart to Beethoven’s Pastoral, and looks back further to Haydn and Mozart at their most congenial. But if the Second paints an idyll, it is a lost idyll. Brahms himself hinted at its tangled

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 13 import. To friend and critic Eduard Hanslick he wrote, “It’ll sound so cheerful and lovely that you will think I wrote it specially for you or even your young lady.” He cited the benevolent influence of his composing spot on the Wörthersee: “[there are] so many melodies flying around that you have to be careful not to step on them.” Meanwhile, having just finished the First Symphony after some fifteen years of wrestling with it, Brahms completed the Second—and several smaller works— during one delightful four-month working vacation in the summer of 1877. To Clara Schumann, however, Brahms described the symphony as “elegiac.” To his publisher he wrote, “The new symphony is so melancholy that you won’t be able to stand it. I’ve never written anything so sad.... The score must appear with a black border.” There the presumable joke is that the symphony usually strikes listeners as suave and enchanting. After all, every movement is in a major key. The deeper irony hidden in Brahms’s words is that the elegiac black border is as much a part of the symphony as its more explicit cheeriness. Brahms’s Second is like a vision of nature and youth troubled by shadows that come and go like dark clouds in a summer sky. In his book on the Second Symphony, Late Idyll, Harvard scholar Reinhold Brinkmann calls this supposed hymn to nature and serenity a “questioning of the pastoral world, a firm denial of the possibility of pure serenity.” Brahms’s testament to the past is haunted by a skepticism and foreboding that seem prophetic. The questioning begins within the gentle opening. We hear a little three-note turn in the basses (D–C-sharp–D), a melodic shape that will pervade the symphony. The basses are answered by an elegant wind phrase that at once suggests a Strauss waltz (Brahms admired the Waltz King) and the hunting horns of a Haydn symphony or

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 15 divertimento. But all this gracious simplicity is deceptive. Anyone trying to waltz to this opening will fall on his face: the phrasing of the basses and the answering winds are offset by one measure, with neither predominating. At times the movement falls into tumultuous stretches where the meter is dismantled. The breezy and beautiful first theme is followed by a fervent second theme that, in itself, is in A major—but harmonized in F-sharp minor. Throughout the symphony, the brightness of major keys will be touched by darker minor-key tints. The more salient voices disturbing the placid surface are the trombones and tuba. After the balmy opening, the music seems to stop in its tracks; there is a rumble of timpani like distant thunder, and the trombones and tuba whisper a shadowy chorale, in cryptic harmonies. That shadow touches the whole symphony. Later, the development section is intensified by braying brasses—startling for Brahms, more startling in this halcyon work. From the beginning of the symphony’s career there were some who saw the shadows. One of them, conductor and Brahms acquaintance Vincenz Lachner, com- plained to the composer about “the gloomy lugubrious tones of the trombones” intruding on the tranquility. Brahms replied with one of the most revealing state- ments he ever made about his music or about himself: I very much wanted to manage in that first movement without using trombones, ...But their first entrance, that’s mine, and I can’t get along without it, and thus the trombones. I would have to confess that I am... a severely melancholic person, that black wings are constantly flapping above us, and that in my output—perhaps not entirely by chance—that symphony is followed by a little essay about the great “Why.”... It casts the necessary shadow on this serene symphony and perhaps accounts for those timpani and trombones. The “little essay” Brahms mentions is another product of the same summer, the motet “Warum ist das Licht gegeben” (Opus 74, No. 1: “Wherefore is the light given to them that toil?”) in which the chorus proclaims Job’s anguished question, “Why? Why?” Thus the trombones, the necessary shadow, the great “Why.” The second movement begins with a sighing high-Brahmsian cello theme. While the tone throughout is passionate and Romantic, the movement’s languid beauties are unsettled by rhythmic and harmonic ambiguity. It ends with a chromatic haze like an expansion of the first movement’s trombone chorale—and underneath, the relentless strokes of timpani that for Brahms were an image of fate, and the thought of fate always ominous. The final sustained chord sounds remarkably frail and uncertain for B major. If the keynote of the first two movements is tranquility compromised, in the last two movements gaiety and frivolity break out. Brahms was generally influenced by the vacation spots where he composed, for example the cliffs and crashing seas of Rügen that helped complete the stormy First Symphony. This time the pleasures of the Wörthersee have the last word. The third movement unfolds as a charming and joc- ular scherzo marked by sudden shifts of rhythm and meter: an elegant Allegretto grazioso leaping into a skittering Presto. The finale is a romp, with one droll and delicious theme after another, ending unforgettably with a triumphant D major blaze of trombones. Here Brahms does something he was not supposed to know how to do—make an instrument the bearer of meaning. The trombones as harbingers of fate have become the heralds of joy; avant-gardists of the next century would call that “tone-color composition.” If the

16 great “Why” is ultimately unanswerable, this time Brahms was happy to lay aside the question in favor of joie de vivre, ﬂourishing his trombones like a wineglass. Of Brahms’s four symphonies the Second often seems the most atavistic, the least ponderous and self-conscious. Yet in its pensive irony as in its masterful craftsman- ship, in its dark moments as in its jubilation, the Second is essentially Brahms. He was a composer who looked back to the giants of the past as an unreachable summit, and who looked to the future of music and civilization with increasing alarm. He was a man who felt spurned by his beloved hometown of Hamburg, who called himself a vagabond in the wilderness of the world. So midway through his journey as a symphonist, Brahms wrote a serenely beautiful masterpiece whose secret message is that you can’t go home again.

JAN SWAFFORD Jan Swafford is a faculty member at the Boston Conservatory, an alumnus of the Tangle- wood Music Center (where he studied composition), and an award-winning author and composer whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music.

Guest Artists

Christoph von Dohnányi Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. In addition to guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg, principal orchestral conducting posts in Germany, London, and Paris, and his legendary twenty-year tenure as music director of the Cleveland Orchestra. Last summer he opened the Boston Symphony Orchestra’s 75th-anniversary season at Tanglewood, returning there for three additional concerts in August. This season has included the opening concerts at the Teatro alla Scala and for the Orchestre de Paris; and Bruckner’s Symphony No. 8 with London’s Philharmonia Orchestra, where he is Honorary Conductor for Life. Spring 2013 brought Schoenberg’s Moses und Aron with the Israel Philharmonic and a return to the Philharmonia for Beethoven’s Eroica Symphony. In North America this season he led subscription weeks with the New York Philharmonic, National Symphony, and Cleveland Orchestra, as well as two weeks of concerts with both the Philadelphia Orchestra and Boston Symphony. Mr. von Dohnányi and the Philharmonia have played in residence in Vienna’s Musikverein and toured Germany and the west coast of the United States. With the Théâtre du Châtelet in Paris, he has collaborated on productions of Strauss’s Arabella, Die Frau ohne Schatten, and Die schweigsame Frau, Moses und Aron, Stravinsky’s Oedipus Rex, and Humperdinck’s Hänsel und Gretel. Other highlights of recent seasons include concerts with the Royal Concertgebouw Orchestra of Amsterdam, the Orchestre de Paris, and the Israel Phil- harmonic, as well as concert series with the Los Angeles Philharmonic (leading all four Brahms symphonies over a two-week period), the Boston and Chicago symphonies, New York Philharmonic, and Cleveland Orchestra. During his years with the Cleveland Orchestra, Christoph von Dohnányi led the ensemble in a thousand concerts, fifteen international tours, twenty-four premieres, and recordings of more than one hundred works. Immediately upon concluding his tenure there in 2002, he made long-awaited guest appearances with the major orchestras of Boston, Philadelphia, Pittsburgh, Chicago, and New York. He also conducts frequently at the world’s great opera houses,

TANGLEWOODWEEK 6 GUESTARTISTS 17 including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Henze’s Die Bassariden and Cerha’s Baal. He also regularly appears with Zurich Opera, where in recent years he conducted Die schweigsame Frau, a double bill of Stravinsky’s Oedipus Rex and Bartók’s Bluebeard’s Castle, and new productions of Verdi’s Un ballo in maschera, Berg’s Wozzeck, and Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, and the complete symphonies of Beethoven, Brahms, and Schumann. An alumnus of the Tanglewood Music Center, Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and Tanglewood since his BSO subscription concerts of November 2002, most recently for two subscription weeks this past February at Symphony Hall, leading music of Brahms, Sibelius, Beethoven, Mozart, and Bruckner.

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Editor’s AGEODWEEK TANGLEWOOD 6 eetuswr w new two were tours hese h ntdSae and States United the n eSmhn,Tchaikovsky’s Symphony, re n u yAvner by duo a and m ihicue h new the includes hich Srst:Virtuoso “Sarasate: e hn,“h Butterfly “The phony, ihM.DLyand DeLay Ms. with d ebgnvoi studies violin began he dMscCne Orches- Center Music od US ARTISTS GUEST tdAeyFse Award. Fisher Avery eted aac a atsummer, last was earance a a wre an awarded was ham yDLyadJens and DeLay hy dwsgatdannual granted was nd ampaign-Urbana, su,Diapason isque, st i name, his to Ds hiladelphia lharmonic, oy In hony. 19 The Linde Family Concert Saturday, August 10, 2013 The concert on Saturday evening is named for Great Benefactors Joyce and Edward Linde, and their family, in recognition of their generous gift to the Tanglewood Annual Fund. The family has been supporting the Boston Symphony Orchestra since 1988. Ed Linde, a highly respected and admired leader within the Boston Symphony and throughout the city of Boston, began as an Overseer in 1996 and then was elected Trustee in 1999 and Chairman of the Board in 2005. Throughout Ed’s tenure as Chairman, he was a passionate and tireless ambassador for the BSO until his death in 2010. He is greatly missed. Joyce, his partner of forty-seven years, carries on his legacy of leadership and generosity. Joyce was elected a Trustee in September 2010 and has been an active advocate for the BSO in this capacity. In 1985, the Lindes bought a home in the Berkshires near Tanglewood, and it was then that they fell in love with the BSO and began playing an active role by generously giving their time and resources. “Supporting the Symphony is easy for us,” the Lindes have said. “We think about the personal pleasure we receive at each concert, the impact Symphony performances have on audiences here at Tanglewood, and around the world, and the organization’s importance to the cultural life of Boston, a city we love greatly.” In 2000, together with their children, Doug and Karen, and their spouses, Carol and Jeff, Joyce and Ed established the Linde Family Foundation, which supports numerous arts, education, and youth initiatives in the Boston area. The Lindes are significant contributors to the Symphony and Tanglewood Annual Funds as well as the BSO’s Beyond Measure Campaign, and they have generously given to the BSO’s educational and community engagement activities, believing that the arts should be a part of every child’s life. Joyce Linde is a trustee of the Linde Family Foundation; an honorary trustee of the Museum of Fine Arts, Boston; a governor of the School of the Museum of Fine Arts, Boston; an overseer of the deCordova Sculpture Park and Museum; and a member of the MIT Music and Theater Arts Visiting Committee and the Boston Public Schools Arts Advisory Board. Walter H. Scott

20 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, August 10, 8:30pm THE LINDE FAMILY CONCERT

CHRISTOPH VON DOHNÁNYI conducting

CARTER “Sound Fields,” for string orchestra (2008) (performed in memory of the composer; see next page)

BEETHOVEN Piano Concerto No. 3 in C minor, Opus 37 Allegro con brio Largo Rondo: Allegro YEFIM BRONFMAN

{Intermission}

BRAHMS Symphony No. 4 in E minor, Opus 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

TANGLEWOODWEEK 6 SATURDAYPROGRAM 21 IN MEMORIAM Elliott Cook Carter, Jr. (December 11, 1908–November 5, 2012)

Elliott Carter commanded universal respect as one of the great artists of our era. Intensely interested in modern cultural life, he was very well-read, spoke and read several languages, and took a strong interest in arts of many epochs. He maintained friendships with artists, writers, and musicians of several generations. Copland was an early advocate; Stravinsky called his Double Concerto for piano, harpsichord, and two chamber orchestras a masterpiece, and his music has been championed by the Juilliard String Quartet,

Michael J. Lutch Pierre Boulez, Oliver Knussen, James Levine, Pierre-Laurent Aimard, and many others. He was twice awarded the Pulitzer Prize in Music, was awarded the Ernst von Siemens Music Prize, and received the National Medal of Arts. In 2012 the French government named him a Commandeur de la Légion d’honneur. Carter’s relationship with the Boston Symphony spanned nearly ninety years. Growing up in New York City, as a teenager he was fascinated by new currents in the arts, particularly music, and befriended the much older Charles Ives, with whom he often attended concerts. Carter later said it was a Boston Symphony performance he attended with Ives of Stravinsky’s Rite of Spring that convinced him to pursue music as a career. The presence of the BSO and its adventurous music director, Serge Koussevitzky, in Boston was one of the factors in his choice to attend Harvard University. The BSO first played Carter’s music—his Variations for Orchestra—in 1964, giving the premiere of his Piano Concerto in 1967 under Erich Leinsdorf, and also releasing its first recording. A member of the Tanglewood Music Center faculty many times over the years, Carter enjoyed an especially rich ihe .Lutch J. Michael relationship with the BSO in the past decade, beginning with the BSO’s commission of his Boston Concerto, premiered in 2003. During James Levine’s tenure as music director, the BSO commissioned Carter’s orchestral minia- ture Micomicón, later part of the triptych Three Illusions, and his Horn Concerto (2007); and co-commissioned his Flute Concerto (2008), Mosaic for harp and ensemble (2004), and Interventions for piano and orchestra. The latter, commissioned to celebrate the composer’s centennial, was premiered by the BSO under James Levine with pianist Daniel Barenboim at Symphony Hall, and was repeated in a special concert at Carnegie Hall on December 11, 2008, the composer’s 100th birthday.

With James Levine in November 2007, following the premiere of the Horn Concerto in Symphony Hall

22 NOTES ON THE PROGRAM

Elliott Carter (1908-2012) “Sound Fields,” for string orchestra First performance: July 20, 2008, Tanglewood Music Center Orchestra, Stefan Asbury conducting. This is the first performance of “Sound Fields” by the Boston Symphony Orchestra. The Boston Symphony Orchestra’s performance this week of Elliott Carter’s Sound Fields for string orchestra is given in memory of the composer, who died on November 5, 2012, age 103; it is played by the BSO as part of Tanglewood’s 2013 Festival of Contemporary Music. In 2006, under James Levine’s direction, the Tanglewood Music Center gave the American stage premiere of Carter’s opera What Next?, a performance Miro Vintoniv subsequently released on DVD. In 2008, at Levine’s instigation, the Tangle- wood Music Center celebrated Carter’s centenary with a five-day Festival of Contemporary Music entirely dedicated to his work. For those performances, the TMC commissioned and presented the premieres of the vocal ensemble piece Mad Regales and the string orchestra piece Sound Fields. This summer, during Tanglewood’s 2013 Festival of Contemporary Music, the TMC presented, this past Thursday in its East Coast premiere, Instances, a work co-commissioned with the Seattle Symphony Orchestra; and, yesterday afternoon, the American premiere of Carter’s Epigrams for piano trio. Sound Fields for string orchestra was commissioned by the Tanglewood Music Center specifically for the TMC Orchestra, which gave the premiere under Stefan Asbury’s direction on July 20, 2008. Ellen Highstein, a longtime friend of the composer and director of the TMC, essentially gave the composer carte blanche in choosing the genres of his new works, and he chose to write this, his first work for string orchestra, and Mad Regales, his first work for a cappella voices in more than sixty years. Carter wrote Sound Fields in spring 2007, completing it on May 16 in New York City. The composer writes, “In thinking about musical contrasts between thick textures and thin ones, I had the idea of composing a piece which depended only on such contrasts, always remaining at the same dynamic and tone color using strings non- vibrato. Helen Frankenthaler’s fascinating Color Field pictures encouraged me to try this experiment.” Carter’s interest in other artistic media, particularly modern works of literature, art, and architecture, has stimulated his own work since the beginning. The great American artist Helen Frankenthaler (1928-2011) began her long career during the golden era of American abstract art that began in the 1940s. The Color Field painters were perhaps exemplified by Mark Rothko along with Richard Diebenkorn, who were interested in combining otherwise static-seeming blocks or shapes of different colors in order to create dynamic friction and harmony between colors. Frankenthaler’s work expands greatly beyond this “school,” but see her “Robinson’s Wrap” (1974) or “Wales” (1966) for examples of Color Field paintings. Musically, the obvious precedent for Sound Fields is Arnold Schoenberg’s Farben (“Colors”), the third movement of his Five Pieces for Orchestra, Opus 16, the famous illustration of Klangfarbenmelodie in which harmony remains mostly stable while orchestral timbre shifts gradually. The constraint is even greater here: the string orchestra is timbrally unchanging; dynamics, harmony, even register are largely fixed, so the only aspect that changes is density, that is, the number of

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 23 instruments playing at one time in this four-minute piece. (Following its premiere, Oliver Knussen approached Carter to write a similar piece for wind ensemble; the composer completed Wind Rose in August 2008 as a companion to Sound Fields.)

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

Ludwig van Beethoven (1770-1827) Piano Concerto No. 3 in C minor, Opus 37 First performance: April 5, 1803, Theater an der Wien, Vienna, Beethoven, soloist. First BSO performance: April 21, 1888, Wilhelm Gericke cond., Mrs. H.H.A. Beach, soloist. First Tanglewood performance: August 7, 1960, Pierre Monteux cond., Leon Fleisher, soloist. Most recent Tanglewood performance: July 29, 2012, Charles Dutoit cond., Emanuel Ax, soloist. One morning during the summer of 1799 Beethoven was walking through the Augarten in Vienna—a public garden that was also a site for outdoor concerts—with Johann Baptist Cramer, one of the most brilliant pianists of his day and one of the few whom Beethoven found worthy of praise. Cramer was on a conti- nental tour from his hometown of London. As the two men were strolling along, they heard a performance of Mozart’s C minor piano concerto, K.491. Beethoven suddenly stopped and drew Cramer’s attention to a simple but beautiful theme introduced near the end of the concerto and exclaimed, “Cramer, Cramer! We shall never be able to do anything like that!” Opinions may (and do) differ as to exactly what passage affected Beethoven so strongly, but there is no doubt that Mozart’s C minor concerto was one of his favorite works, and echoes of that enthusiasm are clearly to be found in his own C minor concerto, which was already in the works—at least in some prelimi- nary way—at the time of the reported incident. This is an earlier work than its “Opus 37” would suggest, since Beethoven composed it about the turn of the century, the period of the six Opus 18 string quartets, the Septet, Opus 20, and the First Symphony, Opus 21. Even so, it shows a significant advance over its predecessors. For some reason he withheld its performance for three years, when it came as part of a lengthy concert that he produced to introduce several new works (this concerto, the Second Symphony, and the oratorio Christ on the Mount of Olives); he also included the First Symphony, already becoming a favorite in Vienna, to attract the audiences. The performance was to take place on April 5, 1803, in the Theater an der Wien, where Beethoven himself lodged gratis while working on his opera Fidelio. The last rehearsal for the concert, on the day of the performance, was a marathon affair running without pause from 8 a.m. until 2:30 p.m., after which the oratorio was given still another run-through. It is a wonder that any of the performers could manage the actual concert, which began at 6 p.m. and proved to be so long that some of the shorter pieces planned for the program were dropped. The fact that Beethoven made up the program entirely of his own works—and then charged elevated prices for tickets—clearly indicates that he expected the power of his name to work at the box office, and so it seems to have done: he cleared 1800 florins on the event. Ignaz Seyfried, the Kapellmeister of the Theater an der Wien, had a special reason to remember the evening clearly:

In the playing of the concerto movements [Beethoven] asked me to turn the pages for him; but—heaven help me!—that was easier said than done. I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all of the solo part from memory, since, as was often the case, he had not had time to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible passages and my scarcely concealed anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper we ate afterwards. Though critical response to the concerto at its first performance ranged from luke- warm to cold, it quickly established itself in the public favor nevertheless. When Ries played the second performance, the prestigious Allgemeine Musikalische Zeitschrift declared it to be “indisputably one of Beethoven’s most beautiful compositions.” Although Beethoven knew and admired the Mozart concertos, he had not yet learned one important trick of Mozart’s. Invariably, Mozart left something out of the orchestral exposition so that it could first be presented by the piano in the solo exposition, thereby helping to characterize the pianist as an individual personality against the orchestra. But in the C minor concerto, Beethoven lays out all of the thematic material at once in the longest and fullest orchestral statement that he ever wrote for a concerto. The main theme is typically Beethovenian in its pregnant simplicity, outlining a triad of C minor in the first measure, marching down the scale in the second, and closing off the first phrase with a rhythmic “knocking” motive that was surely invented with the timpani in mind (although Beethoven does not explicit- ly reveal that fact yet). In fact, much of the “action” of the first movement involves the gradually increasing predominance of the “knocking” motive until it appears in one of the most strikingly poetic passages Beethoven had yet conceived. The Largo seems to come from an entirely different expressive world, being in the

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 25 unusually bright key of E major. It is a simple song-form in its outline but lavish in its ornamental detail. In his last two piano concertos, Beethoven links the slow movement and the final rondo directly. He has not quite done that here, though he invents a clever way of explaining the return from the distant E major to the home C minor: the last chord of the slow movement ends with the first violins playing a G-sharp as the top note of their chord, which also includes a B-natural; Beethoven reinterprets the G-sharp as A-flat (part of the scale of his home key) and invents a rondo theme that seems to grow right out of the closing chord of the slow movement. Nor does he forget that relationship once he is safely embarked on the rondo; one of the most charming surprises in the last movement is a solo passage in which the pianist takes over an A-flat from the orchestra and, while repeating it in an “oom-pah” pattern, reinterprets it again as a G-sharp to recall momentarily the key of the slow movement before the strings return with hints that it is high time to end such stunts and return to the main theme and the main key. But Beethoven has not yet run out of surprises; when we are ready for the coda to ring down the curtain, the pianist takes the lead in turning to the major for a brilliant ending with an unexpected 6/8 transformation of the material.

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

Johannes Brahms Symphony No. 4 in E minor, Opus 98 First performance: October 25, 1885, Meiningen, Brahms cond. (preceded by a two- piano reading by Brahms and Ignaz Brüll that month for a small group of Brahms’s friends). First BSO performance: December 1886, Wilhelm Gericke cond. First Tangle- wood performance: August 7, 1938, Serge Koussevitzky cond. Most recent Tanglewood performance: July 30, 2011, Christoph Eschenbach cond. When Brahms was finishing a big piece he would usually notify friends that something was forthcoming. In that process he was apt to be most flip and ironic concerning the works he most cared about, such as the Fourth Symphony. In August 1885, from mountainous Mürzzuschlag, Brahms sent his advisor Elizabeth von Herzogenberg the first movement of a symphony: “Would you... tell me what you think of it?...Cherries never get ripe for eating in these parts, so don’t be afraid to say if you don’t like the taste. I’m not at all eager to write a bad No. 4.” Back in Vienna, when a friend asked if he’d done a string quartet or the like over the summer, Brahms replied, “Nothing so grand as that! Once again I’ve just thrown together a bunch of polkas and waltzes.” Like any composer, Brahms worried about the reception of a new work. He was more anxious than usual about the Fourth Symphony. His previous two symphonies had scored immediate successes, and that upped the ante for this one. Meanwhile, Brahms perhaps suspected he did not have a Fifth in him. And in its tone and import, the Fourth was the darkest and most densely craft- ed symphonic work he had put before the public. His relief was manifest when its early performances, starting in Meiningen on October 25, 1885, found tremendous acclaim. The symphony’s inception went back several years. In 1880 Brahms played friends a bass line from a Bach cantata, on which Bach had built a chaconne, a work consisting

26 of variations over a repeated bass pattern. Brahms queried, “What would you think of a symphonic movement written on this theme someday?” Thus the finale of the Fourth. For that movement he was thinking of other models, including Bach’s Chaconne in D minor for solo violin, of which Brahms once said: “If I had written this piece... the emotions excited would have driven me mad.” All of these are clues to how Brahms conceived the Fourth, a work of whose expressive import he never spoke directly. Instead, he said: the cherries never get ripe in these mountains; writing a piece like Bach’s chaconne would drive me mad. How do these hints play out in the Fourth Symphony? Three of its movements are in the minor mode, or a haunting, minor-tinted major. As he often did, Brahms concealed truth behind irony when he called the symphony “a bunch of polkas and waltzes.” Most of the music reflects, however distantly, the rhythms and gestures of dance. These dances, however, are not blithe but grave. The piece begins with a lilting E minor theme, its melodic profile a chain of thirds that will permeate the melodic material of the symphony. Soon the music verges into elaborate contrapuntal variations, which will also characterize the piece. The overall tone of the first movement might be called somber nobility, with subtle shades of emotion washing through the texture. The second movement, with its incantatory leading melody, has a tone primeval and ceremonial, like a procession for a fallen hero. In their mournful beauty, the orchestral colors are unique in Brahms, revealing his long study of Wagner and looking forward to Mahler and even Ravel. Then comes an almost shocking contrast—a leaping, pounding, two-beat C major Allegro giocoso that has been called “bacchana- lian,” and “tiger-like.” All of that is to set up the last movement: mostly minor, at times hair-raisingly in- tense. It is the chaconne about which Brahms had once speculated for a finale: an introduction and thirty variations over the steadily repeating Bach theme (which Brahms adapted, adding a chromatic note). In its treatment of a ruthlessly disci- plined form the finale is a triumphant tour de force, and many critics have taken it for little else. But Brahms used the idea of the chaconne to evoke—as in its model, the Bach D minor—a sense of relentless, mounting tragedy. The end, where tradition says the darkness of minor should be lightened by a final turn to major, is a searing minor chord, the timpani pounding out the Brahmsian fate-motif. After Brahms died, conductor Felix Weingartner offered an interpretation: “I cannot get away from the impression of an inexorable fate implacably driving some great

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 27 creation, whether of an individual or a whole race, toward its downfall... [The ﬁnale is] a veritable orgy of destruction, a terrible counterpart to the paroxysm of joy at the end of Beethoven’s last symphony.” Is that excessive—a race driving toward its downfall? In 1883, when the Fourth was taking shape, Brahms wrote his publisher: “In [Austria], where everything... tumbles downhill, you can’t expect music to fare better. Really it’s a pity and a crying shame, not only for music but for the whole beautiful land and the beautiful marvelous people. I still think catastrophe is coming.” What catastrophe was Brahms talking about for Vienna, for Austria, for music? We can trace that mounting concern (despair is not too strong a word) in pieces from the late 1860s on. It is there in the sorrowful beginning of the Alto Rhapsody: “Who can heal the pains/Of one...who sucked hatred of mankind/From the abundance of love?” Two years later came the choral Schicksalslied (Song of Fate), with its shatter- ing middle section: “Suffering mankind/ Wastes away, falls blindly... down into end- less uncertainty.” Those works end not exactly with hope, but with the possibility of it. By 1882 and the Gesang der Parzen (Song of the Fates), even a tenuous hope has van- ished. It begins, “Let the race of man/Fear the gods!” and ends in bleakness. In

28 choosing those texts, was Brahms talking about himself, childless and lonely and aging? To a degree, certainly. But the real catastrophe he saw coming was not just his own. In 1895 Vienna elected a new mayor, Karl Lueger, who made reactionary anti-Semi- tism the formula for political success. His election marked the end of power of the wealthy liberals who had largely built and run modern Vienna—and who were its most passionate music lovers. In Austria and in Germany, the most dynamic faction within that class were well-to-do, assimilated Jews. Those Jews above all were the tar- gets of the ascendant Austro-German right wing. The night Lueger was elected, Brahms barked to friends: “Didn’t I tell you years ago that it was going to happen? You laughed at me then... Now it’s here... Anti-Semitism is madness!” What had come was the beginning of the catastrophe Brahms had foretold. He did not just mean anti-Semitism. He meant the agenda that came with it: the exalting of the “world-transforming” anti-Semite Wagner, and his disciple Bruckner; the doc- trine of racial purity and blood-instinct; the suppression of the liberal, music-loving middle class, Jewish and otherwise. Brahms could not have known where the madness was heading, but we do: toward Hitler. In Mein Kampf, Hitler wrote about how Vienna had shaped his consciousness, especially concerning the Jews. In his last years Brahms saw his class being destroyed, and he believed that music— his own music, and the great tradition he loved—would be consumed along with it. In 1896, in the Four Serious Songs that were his last testament, Brahms took the ﬁrst notes of the Fourth Symphony, the chain of thirds B-G-E-C, and set to them the words “O death! O death!” None of this is to say that Brahms prophesied the Nazis, or that he was the only person in Vienna who saw something malevolent taking shape. No one could have foreseen

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 29 the ﬁnal, incredible shape of the catastrophe. Nor is this to say that the Fourth Sym- phony is a literal story or prophecy. For good reason, in his last years Brahms feared for his music, for all music, for his class, for his civilization. So in his last symphony he sang of that despair, sang in music of the highest craft of a craft he saw dying, and composed his elegy in the forms of solemn and mournful dances.

JAN SWAFFORD An alumnus of the Tanglewood Music Center, where he studied composition, and a faculty member at the Boston Conservatory, Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music.

Guest Artists

For a biography of Christoph von Dohnányi, see page 17.

Yefim Bronfman Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today, for his solo recitals, orchestral engagements, and rapidly growing catalogue of recordings. Mr. Bronfman’s 2012-13 season included concerts with the Berlin Philharmonic under Sir Simon Rattle in Berlin, Salzburg, and the London Proms, with the Zurich Tonhalle and David Zinman, and with London’s Phil- harmonia conducted by Tugan Sokhiev. A year-long residency with the Bayer- ischer Rundfunk Orchestra and Mariss Jansons encompassed both orchestral and chamber music. He returned to Salzburg’s Easter Festival with the Dresden Staatskapelle and Christian Thielemann, followed by appearances with the Vienna Philharmonic and Michael Tilson Thomas in Vienna and London, subscription concerts in Spain and Germany, and a tour with Ensemble Wien-Berlin. In North America he performed with the Metropolitan Opera Orchestra and Fabio Luisi at Carnegie Hall and returned to the orchestras of New York, Chicago, Dallas, Cincinnati, St. Louis, and Montreal. In collaboration with mezzo-soprano Magdalena Kožená he made a short winter tour including New York’s Carnegie Hall,

30 and in solo recital he was heard in Los Angeles, Seattle, Denver, Atlanta, Paris, Berlin, and Lisbon. His 2011-12 season in North America began with the Chicago Symphony’s opening gala conducted by Riccardo Muti, followed by a residency with the Cleveland Orchestra in Miami and Cleveland focusing on Brahms’s concertos and chamber music. A winter recital tour culminating in a Carnegie Hall performance was followed by the world premiere of Magnus Lindberg’s concerto commissioned for Mr. Bronfman by the New York Philharmonic, with which he toured the west coast. In Europe he completed a two-season project of the three Bartók concertos with the Philharmonia Orchestra and Esa-Pekka Salonen in London, Spain, and Brussels, and gave recitals in Amsterdam, Vienna, Frankfurt, Milan, and Lucerne. In partnership with Emmanuel Pahud he visited Spain, Turkey, Denmark, and London, subsequently returning to London for concerts with the London Symphony Orchestra under Tilson Thomas followed by a tour with the Bayerischer Rundfunk Orchestra and Salonen. Widely praised for his solo, chamber, and orchestral recordings, Yefim Bronfman was nominated for a 2009 Grammy Award for his Deutsche Grammophon recording of Esa-Pekka Salonen’s piano concerto with Salonen conducting; he won a Grammy in 1997 for his recording of the three Bartók piano concertos with Salonen and the Los Angeles Philharmonic. Most recently his performance of Beethoven’s Emperor Concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival was released on DVD, with his performance of Rachmaninoff’s Third Concerto with the Berlin Philharmonic and Sir Simon Rattle already available (EuroArts). His most recent CD releases are Tchaikovsky’s Piano Concerto No.1 with Mariss Jansons and the Bayerischer Rundfunk, a recital disc entitled “Perspectives,” and all the Beethoven piano concertos as well as the Triple Concerto (with violinist Gil Shaham and cellist Truls Mørk) with the Zurich Tonhalle under David Zinman (Arte Nova/BMG). Born in Tashkent (Soviet Union) in 1958, Yefim Bronfman moved to Israel with his family in 1973. A student of Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University, he also studied in the United States with Rudolf Firkušny, Leon Fleisher, and Rudolf Serkin. He became an American citizen in July 1989. Mr. Bronfman has performed frequently with the Boston Symphony Orchestra since his subscription series debut in January 1989 and his Tanglewood debut in August 1990. His most recent subscription performances were in November 2006 (Rachmaninoff’s Piano Concerto No. 4), his most recent Tanglewood appearances in July and August 2009 (Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’s Piano Concerto No. 3, respectively) and August 2012 (Brahms’s Piano Concerto No. 2). Stu Rosner

TANGLEWOODWEEK 6 GUESTARTISTS 31 The Boston Symphony Association of Volunteers Concert Sunday, August 11, 2013 The performance on Sunday afternoon is named in honor of the Boston Symphony Association of Volunteers (BSAV). The BSO has relied on the assistance of volunteers for decades, but in 1984, a group of loyal and dedicated supporters of the BSO and Tanglewood first joined forces to ensure that all aspects of the BSO’s many educational, service, and fundraising initiatives were top-notch. Members of the BSAV are instrumental in helping the BSO carry out its musical mission. BSAV members play a vital role in many BSO initiatives and programs, such as the Instrument Playgrounds, flower decorating, exhibit docents, and Tanglewood Family Fun Fest, among many others. And if you have ever visited the Symphony Shop or Tanglewood Glass Houses, engaged the assistance of an usher at Tanglewood, or taken a tour of Symphony Hall or the Tanglewood campus, then you have likely encountered a member of the BSAV in action. During the 2011-12 season, some 675 volunteers donated more than 24,000 hours of their time in passionate support of the BSO. The BSAV continues to be a valued partner in helping the BSO maintain its legacy of musical excellence and sustain its community and educational outreach to spread the joy of music far and wide.

Serge Koussevitzky conducting the BSO at Tanglewood (BSO Archives)

32 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, August 11, 2:30pm THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS CONCERT

CHRISTIAN ZACHARIAS, conductor and piano

ALL-BEETHOVEN PROGRAM

Overture to “The Creatures of Prometheus,” Opus 43

Piano Concerto No. 2 in B-flat, Opus 19 Allegro con brio Adagio Rondo: Molto allegro Mr. ZACHARIAS

{Intermission}

Symphony No. 6 in F, Opus 68, “Pastoral” Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro— Thunderstorm. Allegro— Shepherd’s song. Happy, grateful feelings after the storm. Allegretto

TANGLEWOODWEEK 6 SUNDAYPROGRAM 33 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Overture to “The Creatures of Prometheus,” Opus 43 First performance: March 28, 1801, Burgtheater, Vienna (as part of premiere of the ballet for which Beethoven wrote the music). First Tanglewood performance: August 9, 1958, Boston Symphony Orchestra, Pierre Monteux cond. Most recent Tanglewood performance by the BSO: August 16, 1996, Christoph Eschenbach cond. Most recent Tanglewood performance: August 13, 2006, Philadelphia Orchestra, Christoph Eschen- bach cond. (the Camerata Salzburg having meanwhile performed it here on August 6, 2003, Roger Norrington cond., as part of a performance of Beethoven’s complete music for the ballet). Except for a youthful attempt ten years earlier in Bonn, Beethoven’s music for The Creatures of Prometheus was the first theatrical score he composed. It is not entirely clear why the Milanese dancer and ballet designer Salvatore Vigano asked Beethoven to provide the music for his new ballet, which was planned as a tribute to Maria Theresa, second wife to the Emperor Franz of Austria. But the fact that Beethoven’s instantly popular Septet in E-flat, Opus 20—introduced at a concert Beethoven gave for his own benefit at the Vienna Burgtheater on April 2, 1800—was dedicated to the Empress may provide the connection. By this time the thirty-year-old Beethoven had made himself a name as a composer of piano and chamber music, but his only significant orchestral scores were the First Symphony and two piano concertos; the symphony and one of the concertos (we don’t know which) were introduced to the Viennese public on the same concert as the Septet. The chance to compose for the theater marked a singular opportunity for the young composer, and he gave the commission a high priority, providing an overture, an introduction, and sixteen musical numbers.

34 Although the ballet’s popularity was such that it was performed sixteen times in 1801 and thirteen times the following season, all that has come down to us besides Beethoven’s music is a description of the story line, as given in a biography of Vigano by Carlo Ritorni and also in Thayer’s classic biography of the composer: The foundation of this allegorical ballet is the fable of Prometheus. The philoso- phers of Greece allude to Prometheus as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them manners, customs, and morals. As a result of that conception, two statues that have been brought to life are introduced in this ballet; and these, through the might of harmony, are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them. Apollo gives them as teachers Amphion, Arion, and Orpheus to instruct them in music, Melpomene to teach them tragedy, Thalia for comedy, Terpsichore and Pan for the shepherd’s dance, and Bacchus for the heroic dance, of which he was the originator. Beethoven’s overture is comparatively lightweight, given the nature of the subject matter and especially judging by the standards of his later, more frequently played overtures to Coriolan and Egmont. But the opening measures, with their swift strokes beginning as it were in medias res harmonically and so immediately commanding the attention, are a perfect foil to the woodwind melody that follows. Those opening chords may also be heard to anticipate the chordal—though not harmonic—frame- work for the perpetual-motion Allegro theme to follow, and the initial woodwind melody likewise prepares the second theme of the Allegro. All in all, the five-minute overture makes a perfect curtain-raiser for an evening’s entertainment, even providing a touch of drama when the main theme’s return is clouded by C minor before reverting to the predominant major-mode brightness of the whole.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Ludwig van Beethoven (1770-1827) Piano Concerto No. 2 in B-flat, Opus 19 First performance: March 29, 1795, Vienna, Beethoven cond. (though he completely revised the work before playing it again in Prague in 1798, that being the version we know today). First BSO performance: February 1948 (!), Richard Burgin cond. (in New Haven), Bruce Simonds, soloist. First Tanglewood performance: July 9, 1965, Erich Leinsdorf cond., Theodore Lettvin, soloist. Most recent Tanglewood performance: August 26, 2006, Herbert Blomstedt cond., Emanuel Ax, soloist. Beethoven had gone from Bonn to Vienna in 1792, a twenty-two-year-old pianist and composer eager to make his mark in a big way. He knew the music of Mozart, who had died the year before, and he studied with Haydn. The work of these two composers made its mark on him, and it is evident in the B-ﬂat piano concerto, written while Haydn was away on his second London journey. The orchestra—which lacks clarinets—probably reflects the practice of Haydn, who came to employ the clarinet regularly only late in his life. And it may also recall Mozart’s last piano concerto, K.595, which is also in B-flat and (unusually for Mozart) omits trumpets and timpani. The work was evidently completed only just in the nick of time. Beethoven was scheduled to play it on a concert that was part of an annual series of beneﬁts for the widows of members of the Tonkünstlergesellschaft (Society

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 35 of Musicians), and he had apparently not had the time to write it all out. His friend Franz Wegeler recalled, “Not until the afternoon of the second day before the concert did he write the rondo, and then while suffering from a pretty severe colic which frequently afflicted him. I relieved him with simple remedies so far as I could. In the anteroom sat four copyists to whom he handed sheet after sheet as soon as it was finished.” The rehearsal took place in Beethoven’s room the next day. Also according to Wegeler, Beethoven’s piano was found to be a half-tone lower than the wind instruments, necessitating an at-sight transposition of his own part by the composer. When the opportunity arose for a performance in Prague, Beethoven undertook a substantial revision of the score, especially of the first movement. By this time the C major concerto had already appeared in print, and he had to publish the earlier work in B-flat as “No. 2.” This fact disgruntled Beethoven, who never lost an opportunity to set the record straight, since he felt that he had made progress between the two works. Of course Beethoven never disowned the concerto—he simply felt he had moved beyond it; like every composer, he wanted his most recent work to be heard and appreciated. We are likely to hear them with ears dulled by familiarity and to underrate their originality, but one young Czech musician, Tomaschek, who heard the B-flat concerto in Prague, shows us how striking it was at the time: I admired his powerful and brilliant playing, but his frequent daring deviations from one motive to another, whereby the organic connection, the gradual development of ideas was broken up, did not escape me. Evils of this nature frequently weaken his greatest compositions, those which sprang from a too exuberant conception. It is not seldom that the unbiased listener is rudely awakened from his transport. The singular and original seemed to be his chief aim in composition... We, on the other hand, are likely to notice the Mozartean trick of combining a forceful and a lyrical idea together in the opening phrase, or the Haydnesque emphasis on rhythmic upbeat ideas, and fail to notice that already Beethoven has an obsession for unexpected changes of harmony. The first of these is signalled in the simplest way—the full orchestra hammers out three repeated C’s fortissimo, followed by an echo, pianissimo, on D-flat. The melody seems about to continue in D-flat, a key very remote from where we just were, until Beethoven quickly engineers a phrase that brings it around to the “right” place. It is true that he may have learned this trick from Haydn, who used it frequently, but it became a central element of Beethoven’s musical armamentarium. The slow movement may not yet show us a Beethoven capable of the most extraordinary profundities, but he is certainly already a master of the art of variation and decoration, which would ultimately lead beyond the facile and the merely pretty to new worlds of expression. When the orchestra plays the conventional six-four chord, the usual invitation to a soloist to take off on an elaborate cadenza, Beethoven has, in effect, composed an anti-cadenza by writing just a few notes, leaping up at first and then dropping back in a dying fall, to which he added the note, “with great expression.” Stu Rosner

36 The unusual rhythm of the main theme marks the rondo finale. This movement apparently underwent a good deal of revision for the 1798 performance, and it appears as if the original version had had a far more ordinary form of the rhythm in the main theme. The piano plays this “normal” form of the 6/8 rhythm at one point in the middle of the movement (is that intentional, or did Beethoven forget to revise those bars?)—and there is little doubt that the ﬁnal version has more spice to it. The rondo plays all sorts of little harmonic and rhythmic tricks, with the aim of leaving its listeners smiling. It is a trick that Beethoven has already learned in this ﬁrst completed concerto.

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

Ludwig van Beethoven Symphony No. 6 in F, Opus 68, “Pastoral” First performance: December 22, 1808, Vienna, Beethoven cond. First BSO performance: January 1882, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s first Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: July 6, 2012, Christoph von Dohnányi cond. Beethoven took delight in the world of nature. When in Vienna he never failed to take his daily walk around the ramparts, and during his summers spent outside of town he would be outdoors most of the day The notion of treating the natural world in music seems to have occurred to him as early as 1803, when he wrote down in one of his sketchbooks a musical fragment in 12/8 time (the same meter used in the Pastoral’s “Scene at the brook”) with a note: “The more water, the deeper the tone.” Other musical ideas later to end up in the Sixth Symphony appear in Beethoven’s sketchbooks sporadically in 1804. During the winter of 1806-07, he worked out much of the thematic material for all the movements but the second. In the fall of 1807 and the spring of 1808 he concentrated seriously on the work and apparently finished it by summer 1808, since he reached an agreement that September 14 with the publisher Breitkopf & Härtel for the sale of this symphony with four other major works. One thing that aroused extended discussion of the new symphony—a discussion that lasted for decades—was the fact that Beethoven provided each movement of the work with a program, or literary guide to its meaning. His titles are little more than brief images, just enough to suggest a specific setting: I. Awakening of happy feelings upon reaching the countryside. II. Scene at the brook. III. Cheerful gathering of the country folk. IV. Thunderstorm. V. Shepherd’s song. Happy, grateful feelings after the storm. But much more important for an understanding of Beethoven’s view is the overall heading that Beethoven had printed in the program for the first performance: “Pastoral Symphony, more an expression of feeling than a painting.” Even given the birdcalls of the second movement, the thunderstorm of the fourth, and the ranz des vaches (Swiss herdsman’s song) borrowed by Beethoven to introduce the final movement’s “hymn of thanksgiving,” he never intended that this work be considered an

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 37 attempt to represent events in the real world, an objective narrative in musical guise. Rather, this symphony provided yet again what all of his symphonies had offered: subjective moods and impressions captured in harmony, melody, color, and the structured passage of time. Ultimately, all those elements that might be labeled “pro- grammatic” can be seen to nestle snugly and fittingly into what the eminent critic and annotator Donald Francis Tovey has called “a perfect classical symphony.” Beethoven’s sketchbooks also reveal that he was working on his Fifth and Sixth symphonies at the same time. They were finished virtually together, given consecutive opus numbers (67 and 68), and premiered in the same concert (where they were reversed in numbering, with the Pastoral, given first on the program, identified as “Symphony No. 5”). Further, only twice in Beethoven’s symphonic writing—that is, in these two symphonies—did Beethoven link the movements of a symphony so they would be performed without a break. In the Fifth Symphony, the scherzo is connected to the finale by an extended, harmonically tense passage that demands resolution in the bright C major of the closing movement. Much the same thing happens in the Pastoral Symphony, although the level of tension is not nearly so high, and the linking passage has grown to a full movement in and of itself (the thunderstorm), resulting in Beethoven’s only five-movement symphony. Yet no two symphonies are less likely to be confused, even by the most casual listener— the Fifth, with its demonic energy, tense harmonies, and powerful dramatic climaxes on the one hand, and the Sixth, with its smiling and sunny air of relaxation and joy on the other. Nothing shows more clearly the range of Beethoven’s work than these two masterpieces, twins in their gestation, but hardly identical. Popular biographies of Beethoven tend to emphasize the heaven-storming, heroic works of the middle period—the Eroica and Fifth symphonies, the Egmont Overture, the Emperor Concerto, the Razumovsky string quartets, the Waldstein and Appassionata sonatas—at the expense of other aspects of his art. On the other hand, some critics of a “neoclassical” orientation claim to find the even-numbered symphonies to be more successful than the overtly dramatic works. Both views are equally one-sided and give a blinkered representation of Beethoven. His art embraces both elements and much more.

STEVEN LEDBETTER

38 Guest Artist

Christian Zacharias One of the world’s most celebrated pianists, Christian Zacharias has also made his mark as a deeply communicative conductor, festival director, musical thinker, writer, and broadcaster. Mr. Zacharias made his name first as a pianist and continues to appear in concerto and recital performances worldwide. He performs with the world’s leading conductors and conducts the most renowned orchestras; many of his recordings have earned international prizes. A propensity for long musical journeys with kindred spirits is reflected in his work as conductor. Since 2000 he has been principal conductor of the Orchestre de Chambre de Lausanne, with which he has made a number of critically acclaimed recordings, including works by Mozart, Schumann, Chopin, and Michael Haydn. Especially notable is their award-winning cycle of the complete Mozart piano concertos, which was completed in August 2012. Individual volumes in the cycle have been awarded the Diapason d’Or, Choc du Monde de la Musique, and Echo Classic. Another recent recording with the Orchestre de Chambre de Lausanne features Schumann’s symphonies 2 and 4. Since the 2002-03 season Christian Zacharias has been principal guest conductor of the Gothenburg Symphony Orchestra, and in 2009 he became an artistic partner of the St. Paul Chamber Orchestra. He also enjoys long-term relationships with many other orchestras, among them the Los Angeles Philharmonic, New York Philhar- monic, and Scottish Chamber Orchestra, with which he appears regularly. Most recently he has embarked on an operatic career, conducting productions of Mozart’s La clemenza di Tito and Le nozze di Figaro and Offenbach’s La belle Hélène. Mr. Zacharias has received many awards and prizes, including the 2007 Midem Classical Award “Artist of the Year” in Cannes. Honored in 2009 for his services to the culture in Rumania, he has more recently been awarded the honorary title of Officier dans l’Ordre des Arts et des Lettres by the French government. To mark his 60th birthday in 2010, the Alte Oper Frankfurt arranged an “Artist’s Portrait” of Christian Zacharias which presented him in five concerts and three films as pianist, conductor, chamber musician, and Lied accompanist. In December 2011 he performed in recital at Carnegie Hall, the first German pianist to do so in over thirty years. The current season’s recitals take him to Rome, Paris, and London, among other cities. Also this season, Mr. Zacharias has appeared as conductor and pianist with the Boston Symphony Orchestra, the Hallé Orchestra in Manchester, the Deutsches Symphonie-Orchester Berlin, Orquesta Nacional de España, and Orchestre National de France. He also continues his close collaboration with the Gothenburg Symphony Orchestra, the Orchestre de Chambre de Lausanne, and the St. Paul Chamber Orchestra, and was appointed artistic director of the International Radio Orchestras’ Festival “RadiRo” in Bucharest, which was inaugurated in September 2012. Since 2011 he has been professor of orchestral performance at the Academy of Music and Drama Gothenburg. Christian Zacharias’s first appearance with the Boston Symphony Orchestra in the dual role of conductor and soloist was in November 2010, with a program of two Haydn symphonies and two Mozart piano concertos. Previously he had appeared a number of times as pianist with the orchestra, making his BSO debut in November 1979 and his Tanglewood debut in July 1994. His most recent appearance with the orchestra was as conductor and pianist for a program of Haydn, Mozart, and Beethoven in November 2012. This past Wednesday night in Ozawa Hall he played a solo recital of music by Beethoven, Schubert, and Schumann.

TANGLEWOODWEEK 6 GUESTARTIST 39

Society Giving at Tanglewood

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

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

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TANGLEWOODWEEK 6 SOCIETYGIVINGATTANGLEWOOD 43 2013 Tanglewood Named Concerts and Guest Artists

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

2013 Tanglewood Named Concerts

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

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

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

TANGLEWOODWEEK 6 NAMEDCONCERTSANDGUESTARTISTS 45 The Walter Piston Society

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. ‡ This symbol denotes a deceased donor.

Everett L. Jassy, Co-chair, Planned Giving Committee Richard P. Morse, Co-chair, Planned Giving Committee Peter C. Read, Co-chair, Planned Giving Committee

Sonia S. Abrams • Dellson Alberts ‡ • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Denise Bacon • Henry W. D. Bain • Mr. and Mrs. Sherwood E. Bain • Mr. Donald Ball ‡ • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek • Deborah Davis Berman • George and Joan Berman • Leonard and Jane Bernstein • Roberta and George Berry • Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black • Mr. Carl G. Bottcher • Mrs. John M. Bradley • Carol and Bob Braun • Karen M. Braun • Jan Brett and Joseph Hearne • Peter and Anne Brooke • Phyllis Brooks • Mr. ‡ and Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Mr. Richard-Scott S. Burow • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Mrs. William H. Congleton ‡ • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Mrs. Bigelow Crocker • Ann Denburg Cummis • Joan P. and Ronald C. Curhan • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Peggy Daniel • Eugene M. Darling, Jr. • Mr. and Mrs. ‡ Nelson J. Darling, Jr. • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Mr. Robert Djorup • Dr. Ruth Dlugi-Zamenhof and Dr. Robert Zamenhof • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Miss Mary C. Eliot • Mrs. Richard S. Emmet • Lillian K. Etmekjian • John P. Eustis II • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • Elio Ruth Fine • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • Jane Fitzpatrick • David D. Foster • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Mr. ‡ and Mrs. Dean W. Freed • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Thelma and Ray Goldberg • Ms. Claire Goldman • Mr. Mark R. Goldweitz • Midge Golin • Hon. Jose A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Hope and Warren Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Deborah Hauser • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Mrs. Richard B. Hirsch • Mr. John Hitchcock • Joan and Peter Hoffman • Mrs. Marilyn Brachman Hoffman • Mr. Richard Holman ‡ • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn •

46 Mr. Charles A. Hubbard II • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Charles and Carolyn Jack • Emilie K. Jacobs • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mr. ‡ and Mrs. H.E. Jones • Ron and Joyce Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Ms. Marsha A. Klein • Mr. Mason J. O. Klinck, Sr. • Kathleen Knudsen • Audrey Noreen Koller ‡ • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman • Mr. George F. Krim • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • John C. MacRae • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Pamela R. McKay • Mr. ‡ and Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Dr. Joel R. Melamed • Henrietta N. Meyer • Edie Michelson and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Mr. and Mrs. ‡ Nathan R. Miller • Richard S. Milstein, Esq. • Patricia A. 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Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • Emily M. Reeves • John S. Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Elizabeth P. Roberts • Ms. Margaret C. Roberts ‡ • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth • Arnold Roy • Jordan S. Ruboy, M.D. ‡ • Mr. Robert M. Sanders • Mr. Stephen Santis • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • John N. and Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Carl H. and Claudia K. 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TANGLEWOODWEEK 6 THEWALTERPISTONSOCIETY 47

August at Tanglewood

Friday, August 2, 6pm (Prelude Concert) Thursday, August 8—Monday, August 12 MEMBERS OF THE BSO FESTIVAL OF CONTEMPORARY MUSIC RANDALL HODGKINSON, piano PIERRE-LAURENT AIMARD, Festival Music of Britten, Beethoven, Kurtág, and Director Ravel Friday, August 9, 6pm (Prelude Concert) Friday, August 2, 8:30pm MEMBERS OF THE BSO The Serge and Olga Koussevitzky ALLEGRA LILLY, harp Memorial Concert Music of Golijov, Tan Dun, and Schnittke BSO—STÉPHANE DENÈVE, conductor LARS VOGT, piano Friday, August 9, 8:30pm LUCY CROWE, soprano BSO—CHRISTOPH VON DOHNÁNYI, TANGLEWOOD FESTIVAL CHORUS conductor GIL SHAHAM, violin STRAUSS Death and Transfiguration BEETHOVEN Piano Concerto No. 4 SIBELIUS Violin Concerto POULENC Stabat Mater BRAHMS Symphony No. 2

Saturday, August 3, 10:30am Saturday, August 10, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 4 BSO program of Sunday, August 11

Saturday, August 3, 8:30pm Saturday, August 10, 8:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTOPH VON DOHNÁNYI, LANG LANG, piano conductor TANGLEWOOD FESTIVAL CHORUS YEFIM BRONFMAN, piano RAVEL Pavane for a Dead Princess CARTER Sound Fields BEETHOVEN Piano Concerto No. 1 BEETHOVEN Piano Concerto No. 3 RAVEL Daphnis et Chloé (complete) BRAHMS Symphony No. 4

Sunday, August 4, 2:30pm Sunday, August 11, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTIAN ZACHARIAS, conductor YO-YO MA, cello and piano STRAVINSKY Fireworks ALL-BEETHOVEN PROGRAM DVORÁKˇ Cello Concerto Overture to The Creatures of Prometheus STRAVINSKY The Rite of Spring Piano Concerto No. 2 Symphony No. 6 in F, Pastoral Sunday, August 4, 8pm Monday, August 12, 8pm ESPERANZA SPALDING RADIO MUSIC SOCIETY Final concert of the 2013 FESTIVAL OF CONTEMPORARY MUSIC Tuesday, August 6, 8:30pm (Gala Concert) GEORGE BENJAMIN, conductor Tanglewood on Parade BENJAMIN Written On Skin, Opera in three (Grounds open at 2pm for music and activities parts (U.S. premiere) throughout the afternoon.) Concert performance, sung in English with BSO, BOSTON POPS ORCHESTRA, and supertitles TMC ORCHESTRA STÉPHANE DENÈVE, CHARLES DUTOIT, Wednesday, August 14, 8pm KEITH LOCKHART, and JOHN WILLIAMS, EMERSON STRING QUARTET conductors Music of Haydn, Britten, and Beethoven Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Thursday, August 15, 8:30pm, Shed Fireworks to follow the concert “THE GOAT RODEO SHOW” Wednesday, August 7, 8pm YO-YO MA, cello CHRISTIAN ZACHARIAS, piano EDGAR MEYER, bass Music of Beethoven, Schubert, and Schumann CHRIS THILE, mandolin STUART DUNCAN, fiddle with AOIFE O’DONOVAN, vocals

Friday, August 16, 6pm (Prelude Concert) Friday, August 23, 8:30pm BSO BRASS QUINTET BSO—ANDRIS POGA, conductor Music of Lutosławski, Stevens, Vivaldi/Bach, PETER SERKIN, piano and Bozza POULENC Sinfonietta Friday, August 16, 8:30pm STRAVINSKY Concerto for Piano and Winds BEETHOVEN Symphony No. 7 BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor Saturday, August 24, 10:30am MICHAEL FEINSTEIN and Friends Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Including a tribute to Marvin Hamlisch, and BSO program of Sunday, August 25 centennial celebrations of composer Jimmy Van Heusen and lyricist Sammy Cahn Saturday, August 24, 2:30pm Saturday, August 17, 10:30am FAMILY CONCERT Open Rehearsal (Pre-Rehearsal Talk, 9:30am) “Musical Storytelling,” to include music of Rimsky-Korsakov, Saint-Saëns, and BSO program of Saturday, August 17 Casinghino’s One Hen, based on the Saturday, August 17, 8:30pm children’s book by Kate Smith Milway, all performed by a wind quintet made BSO—BERNARD HAITINK, conductor up of BSO members and TMC Fellows ISABELLE FAUST, violin CAMILLA TILLING, soprano Saturday, August 24, 8:30pm John Williams’ Film Night MOZART Violin Concerto No. 5 in A, K.219 MAHLER Symphony No. 4 BOSTON POPS ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Sunday, August 18, 2:30pm conductors The Leonard Bernstein Memorial Concert AUDRA MCDONALD, vocalist TMC ORCHESTRA—CHRISTOPH VON Film music by Alfred Newman, Henry Mancini, DOHNÁNYI, conductor Max Steiner, and John Williams, plus songs EMANUEL AX, piano performed by renowned vocalist Audra MOZART Piano Concerto No. 9 in E-flat, K.271 McDonald MAHLER Symphony No. 1 Sunday, August 25, 2:30pm Monday, August 19, 7pm BSO—BERNARD HAITINK, conductor GRACE POTTER AND THE NOCTURNALS ERIN WALL, TAMARA MUMFORD, JOSEPH with very special guest JOSH RITTER KAISER, JOHN RELYEA, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 20, 8pm BEETHOVEN Symphony No. 9 BOSTON SYMPHONY CHAMBER PLAYERS MENAHEM PRESSLER, piano Sunday, August 25, 8pm MARCELO LEHNINGER, conductor MONTY ALEXANDER TRIO Music of Carter, Copland, Kurtág, and Mozart Thursday, August 29, 8pm Thursday, August 22, 8pm WAIT WAIT…DON’T TELL ME! DANIIL TRIFONOV, piano Saturday, August 31, 1pm Music of Scriabin, Liszt, and Chopin DONAL FOX Friday, August 23, 6pm (Prelude Concert) THE SCARLATTI JAZZ PROJECT TANGLEWOOD FESTIVAL CHORUS Saturday, August 31, 7pm JOHN OLIVER, conductor JOHN FINNEY, organ HARRY CONNICK, JR. Music of Britten EVERY MAN SHOULD KNOW TOUR Sunday, September 1, 2:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor

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

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

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

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

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

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

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

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

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

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

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

Administration

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

Administrative Staff/Artistic

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

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

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

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

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

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

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

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

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

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

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

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

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

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

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

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

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

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

Koussevitzky Music Shed

Seiji Ozawa Hall