Week 11 Bernard Haitink | Conductor Emeritus Seiji Ozawa

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2012–2013 season | Week 11 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 11

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 celebrating the verdi bicentennial: verdi’s paradoxical testament by thomas may 26 this week’s program

Notes on the Program

28 The Program in Brief… 29 Henri Dutilleux 37 Pyotr Ilyich Tchaikovsky 45 Igor Stravinsky 51 Maurice Ravel 57 To Read and Hear More…

Guest Artists

63 Alan Gilbert 64 Lisa Batiashvili

66 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on january 11 is given by bso assistant director of program publications robert kirzinger.

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

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 • Alan Bressler† • 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 • Charlies 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 • Helene R. Cahners† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. 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. •

week 11 trustees and overseers 3

photos by Michael J. Lutch

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 • 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 • Mrs. Carl Shapiro † • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells† • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 11 trustees and overseers 5

BSO News

Boston Symphony Chamber Players at Jordan Hall, This Sunday, January 13, at 3 p.m. The next Boston Symphony Chamber Players concert of their four-concert Jordan Hall series at the New England Conservatory takes place this Sunday afternoon, January 13. Joining the Chamber Players for this concert are BSO Assistant Conductor Marcelo Lehninger and guest pianist Jonathan Bass. The program will include Lutosławski’s Dance Preludes for winds and strings, Gabriela Lena Frank’s Sueños de Chambi for flute and piano, and Copland’s Appalachian Spring in its original version for chamber orchestra. Single tickets at $38, $29, and $22 are available online at bso.org, at the Symphony Hall box office, or by calling Symphony Charge at (617) 266-1200. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

Boston Symphony Chamber Players CD Nominated for Grammy Award The Boston Symphony Chamber Players’ 2011 CD on BSO Classics—“Profanes et Sacrées: 20th-Century French Chamber Music,” featuring music of Ravel, Tomasi, Dutilleux, Debussy, and Françaix—has been nominated for a Grammy in the category of “Best Chamber Music/ Small Ensemble Performance.” This year’s Grammy Awards ceremony will take place on February 13. “Profanes et Sacrées,” along with the Chamber Players’ recent all-Mozart and all-American CDs on BSO Classics, is available at bso.org and at the Symphony Shop.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for January and February are Robert Kirzinger (January 11), Helen Greenwald of the New England Conservatory (January 25), Harlow Robinson of Northeastern University (February 1), Jan Swafford of The Boston Conservatory (February 8), Marc Mandel (February 15), and Elizabeth Seitz of The Boston Conservatory (February 22).

week 11 bso news 7 Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next concert in this series will take place Friday, January 18—to include Verdi’s String Quartet in E minor, Previn’s Clarinet Quintet, and music of William Grant Still and Earle Brown, featuring the Hawthorne String Quartet (made up of BSO members), BSO clarinetist Thomas Martin, BSO cellist Mickey Katz, and guest pianist Stephen Drury—with further concerts scheduled for March 1, March 8, and April 26. These free concerts are made possible in part by a generous grant from the Lowell Institute.

BSO 101 at Symphony Hall BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. The next session, on Tuesday, January 29, will offer the season’s second BSO players’ round table discussion, with cellist Blaise Déjardin, assistant concertmaster Elita Kang, and principal trumpet Thomas Rolfs. Though admission is free, we do ask that you e-mail [email protected] or call (617) 638- 9454 to reserve your place for the date or dates you’re planning to attend. Complete information about upcoming BSO 101 sessions can be found at bso.org, under the “Education & Community” tab on the BSO’s home page.

8 individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Theresa M. and Board of the North Carolina School of Science Charles F. Stone III Concert, and Mathematics in Durham, North Carolina. Thursday, January 10, 2013 Rick is also a member of the Council for the Arts at MIT, an Overseer at the Isabella Thursday evening’s concert is supported by Stewart Gardner Museum, and a board mem- a generous gift from BSO Trustee Theresa M. ber of Emmanuel Music. Stone and Charles F. Stone III. Soon after returning to Boston in 2007, Terry and Rick Both Terry and Rick earned master’s in man- attended several concerts of the BSO at agement degrees from the MIT Sloan School Symphony Hall and at Tanglewood; they of Management and held various positions became BSO subscribers the following year in finance and corporate management. Rick and have generously supported the Symphony grew up in Atlanta and attended Princeton; Annual Fund since then, currently as members Terry attended Wellesley. Their son, Charlie, of the Higginson Society at the Encore level. recently graduated from Harvard Business They have also supported Opening Night at School. Symphony and Opening Night at Tanglewood. Terry was elected to the BSO Board of Over- The Marie L. Audet seers in 2009 and the Board of Trustees in and Fernand Gillet Concerts, 2010; she was elected Treasurer of the Board January 11 and 12, 2013 of Trustees in 2012. In that role, Terry serves as Chair of the Budget Committee, as well as In recognition of a bequest from Marie L. a member of the Investment Committee. In Audet Gillet, the first pair of Friday-afternoon addition, she serves on the Executive Commit- and Saturday-evening Boston Symphony tee, Principal and Leadership Gifts Committee, concerts of the new year is dedicated to the and ad hoc Strategic Planning Committee. memory of Mrs. Gillet and her husband, the late Fernand Gillet, who was the BSO’s princi- Terry grew up in Boston, attended Girls’ Latin pal oboe from 1925 to 1946. Mrs. Gillet’s School, and was a member of the Greater bequest endows in perpetuity two subscrip- Boston Youth Symphony Orchestra in its tion concerts each year, in memory of her founding year. Having admired the Boston and her husband. The first such concerts were Symphony since childhood, she feels privi- given in January 1990. leged to serve as one of its Trustees. Terry recently retired from the Massachusetts In- Throughout her eighty-nine years, Marie stitute of Technology, where she was Execu- Gillet was surrounded by glorious music that tive Vice-President and Treasurer. Prior to brought her much joy and pleasure. Married joining MIT in these capacities, she was a to Fernand Gillet for almost fifty years, she member of the MIT Corporation and Executive devoted much of her life to teaching piano Committee and chaired the board of the MIT privately and at the New England Conserva- Investment Management Company. She and tory of Music, and attending Boston Symphony Rick are active on a number of not-for-profit concerts in Symphony Hall and at Tanglewood. cultural and education boards. Terry is a She maintained a very special relationship Trustee of the Museum of Fine Arts, Boston with several of her “pupils” until her death and of Historic New England. Rick is a long- in October 1988. Mrs. Gillet’s love for and standing board member of the Paul Taylor devotion to the Boston Symphony Orchestra Dance Company in New York and the Mac- spanned more than sixty years. A faithful Dowell Colony in Peterborough, New Hamp- subscriber to the Friday-afternoon concerts shire. He recently chaired the Foundation through the 1987 season, she was a member

week 11 bso news 9 10 of the Higginson Society from its inception Committee in 2006 and 2007. and regularly attended special events, includ- Brooks is a senior managing director and ing the luncheon in the spring of 1987 for founder of HarbourVest Partners LLC, an those who had been attending BSO concerts independent investment firm that provides for ﬁfty years or more. The Tanglewood Music innovative private equity solutions to institu- Center was very important to her; in 1983 she tional clients worldwide. Brooks earned his endowed two Guarantor Fellowships—the B.S. from Lehigh University and his M.B.A. Fernand Gillet Fellowship for an oboe student from Harvard Business School. He is a former and the Marie L. Audet Gillet Fellowship for trustee of Lehigh University. An artist and a piano student. graduate of Wheaton College, Linda is a mem- Born in Paris, oboist Fernand Gillet (1882- ber of the Huntington Theatre Company 1980) performed with the Lamoureux Or- Council of Overseers. Brooks and Linda have chestra and the Paris Grand Opera before three married children and six grandchildren Serge Koussevitzky invited him to join the and reside in Sherborn, MA. Boston Symphony Orchestra in 1925 as principal oboe, a position he held for twenty-one years. During the course of his seventy-ﬁve- BSO Business Partner of the Month year teaching career he served on the facul- Did you know that there are more than 400 ties of the Tanglewood Music Center, the New businesses and corporations that support the England Conservatory, and Boston University; Boston Symphony Orchestra, Inc.? You can the New England Conservatory and the East- lend your support to the BSO by supporting man School of Music presented him with the companies who support us. Each month, honorary Doctor of Music degrees; and he we spotlight one of our corporate supporters published several technical methods for oboe as the BSO Business Partner of the Month. in his native France. Mr. Gillet was awarded This month’s partner is Connell Limited the Croix de Guerre for his service in the Partnership. Connell Limited Partnership French Flying Corps during World War I. (“Connell”) is an acquisition-minded family- owned business with a record of growth and creation of shareholder value. Connell’s port- The Linda and Brooks Zug Concert, folio is characterized by market-leading com- Tuesday, January 15, 2013 panies providing hard-to-manufacture prod- The BSO performance on Tuesday evening ucts, superior customer service, excellence in is supported by D. Brooks and Linda M. Zug. operations, and a strong commitment to their Linda and Brooks are patrons of the Boston employees and their community. Connell cur- Symphony Orchestra’s diverse offerings. BSO rently operates companies in the manufactur- subscribers for thirteen consecutive years, ing sector, principally serving customers in they also regularly attend Holiday Pops, the automotive, energy, agriculture, appli- Spring Pops, and Tanglewood performances. ance, mining equipment, mineral/ore pro- The couple supports the mission of the BSO cessing, electronics, and plastics industries. as members of the Higginson Society, as Connell has in excess of $750 million in funds patrons of Opening Nights, and through their available for investment and is continually generous support of the Beyond Measure evaluating new opportunities. For more infor- Campaign. Brooks and Linda also donate mation about becoming a BSO Business their time to the BSO. Brooks was elected to Partner, contact Rich Mahoney, Director of the BSO Board of Overseers in 2004. As BSO Business Partners, at (617) 638-9277 Overseer, he has led an effort to connect the or at rmahoney@ bso.org. BSO with members of the Private Equity and Venture Capital communities, and currently BSO Members in Concert serves on the Principal and Leadership Gifts Committee. Brooks and Linda were also Collage New Music, founded by former BSO members of the Opening Night at Pops percussionist Frank Epstein and whose mem-

week 11 bso news 11 bers include former BSO cellist Joel Moerschel Huntington Avenue, offers prix fixe, buffet- and current BSO violinist Catherine French, style dining from 5:30 p.m. until concert time marks its 42nd season during 2012-13. On for all evening Boston Symphony concerts Sunday, January 13, at 8 p.m. in Edward and lunch from 11 a.m. prior to Friday-after- Pickman Hall at the Longy School of Music in noon concerts. For reservations call (617) 638- Cambridge, Collage presents pianist Christopher 9328 or visit bso.org—where you can now Oldfather performing Messiaen’s Vingt Regards also order a meal, appetizer, or drink ahead sur l’enfant-Jésus. A pre-concert talk begins of time. Casual dining and a full complement at 7 p.m. General admission ise $15 (free for of beverages are offered in both the Cabot- students), available at the door or by calling Cahners and O’Block/Kay rooms before con- (617) 325-5200. For more information, visit certs and at intermission. The Refreshment collagenewmusic.org. Bar, located next to the coatroom on the orchestra level, serves hot and cold non-alcoholic Founded by BSO cellist Jonathan Miller, the beverages, as well as snacks. The Champagne Boston Artists Ensemble performs Mozart’s Bar, located outside the O’Block/Kay Room, String Quartet No. 21 in D, K.575, and Bartók’s offers champagne by the glass, cognac, arma- String Quartet No. 5 on Friday, January 11, gnac, and gourmet chocolates. at 8 p.m. at the Peabody Essex Museum in Salem, and on Sunday, January 13, at 2:30 p.m. at Trinity Church in Newton Centre. Join- Those Electronic Devices... ing Mr. Miller are violinists Peter Zazofsky As the presence of smartphones, tablets, and Bayla Keyes, and violist Lila Brown. and other electronic devices used for com- Tickets are $27, with discounts for seniors munication and note-taking has continued to and students. For more information, visit increase, there has also been an increase in bostonartistsensemble.org or call (617) 964- expressions of concern from concertgoers 6553. and musicians who find themselves distracted The Concord Chamber Music Society, found- not only by the illuminated screens on these ed by BSO violinist Wendy Putnam, presents devices, but also by the physical movements the Concord Chamber Players with Yehudi that accompany their use. For these reasons, Wyner, piano, performing Mr. Wyner’s new and as a courtesy to those on stage as well work for piano quartet (commissioned by as those around you, we respectfully request the Concord Chamber Music Society with that all such electronic devices be turned off generous support from the Harvard Musical and kept from view while the BSO’s perform- Association), Ravel’s Sonata for Violin and ances are in progress. Thank you very much Cello, and Mozart’s Piano Quartet in E-flat, for your cooperation. K.493, on Sunday, January 27, at 3 p.m. at the Concord Academy Performing Arts Center, 166 Main Street in Concord. A pre-concert Comings and Goings... talk begins at 2 p.m. Tickets are $42 and $33, Please note that latecomers will be seated discounted for seniors and students. For by the patron service staff during the first more information, visit www.concordcham- convenient pause in the program. In addition, bermusic.org or call (978) 371-9667. please also note that patrons who leave the hall during the performance will not be Dining at the BSO allowed to reenter until the next convenient pause in the program, so as not to disturb the For Symphony Hall patrons who like to arrive performers or other audience members while early and relax over food and drink, Boston the concert is in progress. We thank you for Gourmet’s on-site chefs prepare a variety of your cooperation in this matter. tempting culinary offerings. The Symphony Café, entered via the Cohen Wing doors on

week 11 bso news 13 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 11 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 11 boston symphony orchestra 17 New England Conservatory presents January 24, 2013 RD The 23 Annual Composers Anniversary Celebration 7:30 pm TATYANA DUDOCHKIN, NEC Jordan Hall founder and artistic director 290 Huntington Ave., Boston Ron Della Chiesa, host (WGBH) Tickets at NEC Box office 617 585-1260

Program Favorite arias, orchestral and choral music from operas Traviata, Nabucco, Macbeth, Trovatore, La Forza del destino, Don Carlos, Aida, Rigoletto, ’Requiem aeternam’ from Requiem and String quartet in e-minor

Featuring Bolshoi Theater, MET and La Scala special guest soloist, Michail Svetlov, bass

NEC Alumni and Faculty Becky Wright, soprano Michael Meraw, baritone Tatyana Dudochkin, piano Yelena Dudochkin, soprano Bradley Williams, tenor Scholarship Brass Quintet, NEC Youth Chorale, Jonathan Richter, director Verdi String Quartet: Irina Muresanu, violin Sam Ou, cello Mark Berger, viola Joo-Mee Lee, violin NEC Youth Symphony Orchestra, Steven Karidoyanes, director NEC Brass Ensemble, Eli Epstein, director SSalutealute t too G Giuseppeiuseppe VerdiVerdi onon hishis b bicentennialicentennial Celebrating the Verdi Bicentennial: Verdi’s Paradoxical Testament by Thomas May

The Boston Symphony Orchestra marks the bicentennials of Giuseppe Verdi (born in October 1813) and Richard Wagner (born in May 1813) with performances under Daniele Gatti of Verdi’s Requiem this month and an all-Wagner program in March.

Now that we’ve made it past the apocalypse allegedly predicted by the Mayan calendar, the music world can carry on with its planned observance of the bicentennials of Giuseppe Verdi and Richard Wagner. This season’s Boston Symphony programs celebrating these two titans of opera afford us a special perspective on the utterly distinctive ways in which the two composers leverage the orchestra in the service of their aesthetic visions.

Both composers, who were born within a mere four-and-a-half months of each other, themselves survived times of violent change. In March we’ll take a look at how Wagner transferred, into artistic dreams, the revolutionary activism that led to his lengthy exile. Conceiving a new central role for the orchestra in his dramaturgy, Wagner actually introduced some of his “music of the future” outside the opera house. Verdi, for his part, repeatedly confronted the strict censorship codes that regulated opera production in his sphere. Despite these restrictions, he never tired of reinventing himself—and in the process became an inspiring force, culturally and politically, within the movement that at last achieved the unification of Italy in 1861 (a decade before Bismarck engineered a similar national fusion for Germany).

Verdi’s birthplace at Roncole, as painted by Achille Formis

week 11 verdi’s paradoxical testament 19 “Alone among his Italian contemporaries,” writes Julian Budden—indisputably one of the most perceptive English-language experts on the composer—“Verdi invariably treated each opera as an entirely separate artistic proposition,” devising a characteristic musical “color” so as “to realize the dramatic essence of a given subject as far as his currently available means would allow.” Such ongoing evolution is remarkable enough on its own terms—and all the more impressive when we recall that Verdi was creating his music in a field as ruthlessly competitive and commercially driven—and as beset by predictable formulas—as today’s film industry.

Yet for a long time, the phenomenal success of Wagnerism managed to distort assess- ments of Verdi’s own formidable art. While the Italian master reigned supreme by the time of Aida (1871), for the commission of which he was first in line, his reputation suffered a precipitous decline with the new century. Patronizing praise reserved for his last operas (insofar as they were seen to veer in the Wagnerian direction) reaffirmed a false dichotomy reminiscent of the similarly misguided division between champions of Wagner and Brahms. This either/or mindset, which pitted Wagner’s self-proclaimed avant-garde reformism against attitudes conveniently labeled “reactionary,” effectively obscured the immense variety and scope of Verdi’s legacy. When it comes to the spectrum of accom- plishments of his “galley years” in particular—the frantically busy early period in which he established himself as the heir to the Italian operatic tradition and the guide to its

20 An engraving of Verdi conducting in Paris, c.1876

future course—the Verdi Renaissance that took root around the middle of the twentieth century has by no means completed its work of rediscovery.

Both Wagner and Verdi pioneered highly individual expressive means—including their use of the orchestra as a resource—to realize their visions of a vital form of music drama. “I, too, have attempted the fusion of music and drama,” declared Verdi to a reporter in 1875, looking back over his career while he was engaged in a high-profile tour of the Requiem. After announcing, upon the triumph of Aida, his retirement from writing for the stage, the Italian had surprised many of his contemporaries by unveiling the monumental score of the Requiem with its life outside the opera house. Its balance of ingenious orchestration and motivic intricacy with masterful deployment of the chorus and solo voices punctured stereotypes about the allegedly inherent differences between Italian and German music.

While Verdi himself remained wary of “symphonic” encroachment on the primacy of the voice in opera, crafting a work he knew would have an existence in the concert hall seems to have liberated him from operatic conventions by encouraging the integration of orchestral and vocal dimensions. This in turn carries forward a process he had been following in his operas up to the interrupted “retirement”—namely, to rethink established formulas in favor of the particular dramatic truth of each new project for the stage. In terms of his approach to the orchestra, as Budden observes, this meant that “gradually the [instrumental] combinations become more varied and imaginative; the colors soften into more delicate shades. Rhetoric turns into poetry; the sharp shocks which drive the

week 11 verdi’s paradoxical testament 21 earlier operas forward become smooth transitions, aided by an ever-widening melodic and harmonic vocabulary.”

In her recent book Verdi and the Germans, Gundula Kreuzer examines the astonishing success the Requiem aroused in Vienna and “in German lands, where most musical genres outside opera were considered national territory... .” Her study unpacks the anxieties embedded in the conductor Hans von Bülow’s notoriously pre-emptive (but constantly quoted) dismissal of the work as “an opera in ecclesiastical robes.” In fact, argues Kreuzer, the Requiem challenged a presiding historical narrative (one promoted not only by Wagnerians) that attempted to pit Verdi and his operatic tradition against “Germanness” in music: “Verdi’s unexpectedly careful elaboration elicited a heated debate about genre and style, national traits, and the essence of ‘truly religious’ music.”

The Requiem is rife with paradoxes. A freethinker who defied convention and had little patience for the institutional Catholicism in which he had been raised, Verdi writes music of soul-stirring profundity in response to this traditional liturgy of the Church. Confronting the stark reality of death somehow triggered a revival of creative energy, reawakening his desire to compose. While all manner of tragic demises had figured in the preceding operas, here the plot itself is catalyzed by our shared mortality. The Requiem is nothing less than a cosmic drama propelled by the quest for ultimate mean- ing. One parallel that comes to mind of another artist skeptical of orthodox belief, and who nevertheless created a soul-stirring meditation on death, is Johannes Brahms in Ein deutsches Requiem, premiered just six years before Verdi’s Requiem. Brahms was in fact quick to recognize the Italian’s effort as a masterpiece and to call his colleague von Bülow to task for his misjudgment. (In a few passages Verdi even comes uncannily close to the spirit of Brahms’s First Symphony, though the latter was premiered two years after the Requiem.) Both the German and Italian Requiems, moreover, are remarkable for breathing a fresh spirit of individuality into a tradition of sacred choral-symphonic music that had become enervated by the later nineteenth century.

Another paradoxical feature is that Verdi’s Requiem stands apart from his operatic oeuvre yet at the same time represents a summation of it. To enhance the terms of this drama, he draws from the rich store of experience gathered throughout decades of writing for the stage. It’s easy enough to notice echoes of Aida or Don Carlo; indeed, for the Lacrymosa ending of the immense drama that rages through the Dies irae sequence, he recycled the melody of a duet he decided to cut from Don Carlo.

Creating a work with the concert hall in mind seems also to have liberated the composer from further limitations of the opera house—both the practical inconveniences and the aesthetic restrictions of psychological realism. Verdi famously took pride in the unique “tinta” (or “colorito”) of each of his operas—the musical thumbprints that give them a special overall character, setting them apart from the one-size-fits-all of conventional formulas. In a sense, each movement of this enormous musical fresco reveals its own particular tinta, without sacrificing the symphonic cohesion that weaves the entire work together. Perhaps one of the most significant comments the composer made regarding

week 11 verdi’s paradoxical testament 23

An 1886 painting of Verdi by Giovanni Boldini

the Requiem was his caution that “one must not sing the Mass as one sings an opera”— that is, with the kind of phrasing and emphasis familiar from the stage.

Both the local aspect of changing tinta and the Requiem’s overarching unity of design rely on Verdi’s imaginative use of his orchestral palette. Particular sonorities, from the bass drum’s violent accents to lyrically consoling cadences, function as characters in their own right, while the soloists are akin to archetypes of humanity rather than flesh-and- blood dramatis personae. The score’s derivation of thematic material from the opening phrases never sounds fussy but animates the interplay of voices and instruments. A balance of unity and variety is further grounded in Verdi’s pacing of moments of recall— e.g., the eruptions of the Dies irae that foreshadow Otello’s tempest—against dramatic contrasts. A particularly striking example of the latter occurs in the rainbow of shifting textures for each of the Agnus Dei repetitions—a kind of modern-day gloss on ancient chant. By this time, Verdi had declared his aesthetic motto as “torniamo all’antico: sarà un progresso” (“let us turn back to the past; that will be progress”). The Requiem is, in the end, a testament in which he bravely recuperates both a vast cultural past and a personal one, distilling the technique and artistic wisdom that could only have been gained through patient decades of labor. thomas may writes about the arts for the Boston Symphony Orchestra program book and other publications. He is the author of “Decoding Wagner: An Invitation to his World of Music Drama” and the editor of “The John Adams Reader: Essential Writings of an American Composer.”

week 11 verdi’s paradoxical testament 25 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, January 10, 8pm | the theresa m. and charles f. stone iii concert Friday, January 11, 1:30pm | the marie l. audet gillet concert Saturday, January 12, 8pm | the fernand gillet concert Tuesday, January 15, 8pm | the linda and brooks zug concert

alan gilbert conducting

dutilleux “métaboles” Incantatoire (Largamente)— Linéaire (Lento Moderato)— Obsessionnel (Scherzando)— Torpide (Andantino)— Flamboyant (Presto) ee Vanderwarker Peter

From the BSO library in Symphony Hall

26 tchaikovsky violin concerto in d, opus 35 Allegro moderato—Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo lisa batiashvili

{intermission} stravinsky symphony in three movements Allegro Andante—Interlude: L’istesso tempo— Con moto ravel “la valse,” choreographic poem

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10:10, the Friday concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 11 program 27 Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, January 10, 8pm | the teresa m. and charles f. stone iii concert Friday, January 11, 1:30pm | the marie l. audet gillet concert Saturday, January 12, 8pm | the fernand gillet concert Tuesday, January 15, 8pm | the linda and brooks zug concert

Please note that Lisa Batiashvili has had to cancel her appearances here this week, having been advised by her doctor, following a back injury, not to travel. We are fortunate that violinist Julian Rachlin, making his Boston Symphony Orchestra debut at short notice, was available to replace Ms. Batiashvili as soloist in the Tchaikovsky Violin Concerto originally scheduled for this program.

Julian Rachlin For the last twenty-four years, Julian Rachlin has been captivating audiences around the world with his rich sound, superb musicianship, and outstanding interpretations. He has established close relationships with many of the most prestigious conductors and orchestras. Always willing to expand his musical horizons, he is also praised as a viola player and, more recently, as a conductor. This year marks the twelfth anniversary of the internationally renowned “Julian Rachlin & Friends” festival held annually in Dubrovnik, Croatia, a plat- form for creative and vibrant projects with today’s leading musicians and actors. Besides delighting his audiences with his musical performances, Mr. Rachlin is also recognized as a young philanthropist for his charity work as a UNICEF Goodwill Ambassador and his educational outreach. Current highlights include concerts with the Orchestre National de France and Semyon Bychkov, the Israel Philharmonic and Christoph von Dohnányi, and the Mariinsky Orchestra and Valery Gergiev, as well as the world premiere of Krzysztof Penderecki’s Double Concerto, dedicated to Julian Rachlin, at the Vienna Musikverein with Mariss Jansons and the Bavarian Radio Symphony Orchestra. Together with Zubin Mehta, he also performs with Sinfonica Heliopolis, an orchestra of young musicians from the favelas in São Paulo. Performances in the dual role of soloist and conductor include collaborations with Kremerata Baltica, the Sinfonica Heliopolis, the RTE Symphony Orchestra Dublin, and the Lucerne Symphony Orchestra. With his regular duo-partner, pianist Itamar Golan, he performs a series of recitals, including the Brahms violin sonatas and viola sonatas at the 92nd Street Y in New York, the Concertgebouw in Amsterdam, and the Musikverein in Vienna. His recordings for Sony Classical, Warner Classics, and Deutsche Grammophon have been met with great acclaim. Born in Lithuania in 1974, Julian Rachlin immigrated to Vienna in 1978. He studied with the eminent pedagogue Boris Kuschnir at the Vienna Conservatory and took private lessons with Pinchas Zukerman. He gained international acclaim overnight in 1988 by winning the “Young Musician of the Year” Award at the Eurovision Competition in Amsterdam, and then became the youngest soloist ever to play with the Vienna Philharmonic, making his debut under Riccardo Muti. Since September 1999 he has been on the faculty at the Vienna Conservatory Private University. Julian Rachlin plays the 1704 “ex-Liebig” Stradivari, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. He also plays the 1786 viola by Nicola Bergonzi on loan to him courtesy of Dmitry Gindin, London.

week 11 insert 1 The Program in Brief...

Tchaikovsky’s two best-known concertos—his 1875 Piano Concerto No. 1 and his Violin Concerto, completed a few years later—suffered from similarly discouraging beginnings. Nikolai Rubinstein, the pianist Tchaikovsky consulted in writing the Piano Concerto, declared that piece not worth playing, although he would change his mind later and become its ardent champion. That concerto quickly entered the repertoire, but the Violin Concerto had a harder time of it. Leopold Auer, to whom it was dedicated, called it unplayable and declined to give its premiere. It took another three years for the piece to reach the concert hall, when Adolf Brodsky played it in December 1881 with the Vienna Philharmonic under Hans Richter. Even then, it took the persistent efforts of Brodsky and, in a change of heart, Auer, before the concerto attained the immense popularity it has enjoyed for the last century and more.

Henri Dutilleux has been one of the most significant artistic figures in France since the 1940s. His long relationship with the BSO began when Charles Munch first programmed his Symphony No. 1 in 1954. Munch and the BSO commissioned and premiered his Symphony No. 2, Le Double, for the orchestra’s 75th anniversary, and most recently the BSO co-commissioned his song cycle Le Temps l’Horloge, which was given its American premiere by soprano Renée Fleming with the BSO under James Levine in 2007. Métaboles, written between 1962 and 1964 for the Cleveland Orchestra, is a work in five short, inter- connected movements, each of which develops material found in a previous movement, but to completely different effect. The scoring is imaginative and intricate throughout; one of Dutilleux’s trademarks is his fine ear for instrumental color.

Igor Stravinsky was particularly close to the BSO during Koussevitzky’s tenure as music director from the 1920s through the 1940s, and conducted the orchestra himself on several occasions. It was on such an occasion that he led the BSO’s first performances of his recently minted Symphony in Three Movements in February 1946, the month after leading its world premiere with the New York Philharmonic, for whom he had written the piece. Stravinsky revealed that certain dark events of World War II affected his approach to this symphony and might be discerned in its music. The work is a cornerstone of the composer’s neoclassical period.

Maurice Ravel had toyed with the idea of a tribute to the great “Waltz King,” Johann Strauss II, for many years before writing La Valse in 1920 for Serge Diaghilev’s Ballets Russes. Diaghilev felt it wasn’t quite right for a ballet, however, and rejected the score, a circumstance that soured his relationship with Ravel. Other companies later performed the piece as a ballet; but its popularity in the concert hall has never waned. La Valse is a 20th-century French composer’s impassioned, kaleidoscopic dream of the Viennese waltz. Ravel’s minimal choreographic scenario describes dancing couples seen “through whirling clouds” and is set in “An Imperial Court, about 1855.”

Robert Kirzinger

28 Henri Dutilleux “Métaboles”

HENRI PAUL JULIEN DUTILLEUX was born in Angers, France, on January 22, 1916, but grew up in the northern French Flanders town of Douai, where his family returned at the end of World War I. From 1961, he and his wife, the pianist Geneviève Joy (1919-2009; they married in 1946) lived together on the Île Saint-Louis in Paris, where Dutilleux still lives. Dutilleux composed “Métaboles” on a commission from the Musical Arts Association of Cleveland to celebrate the for- tieth anniversary of the Cleveland Orchestra. The score was completed in 1964 and dedicated to George Szell, who led the Cleveland Orchestra in the first performance on January 14, 1965; Szell and the Cleveland Orchestra repeated the work in Boston when they played it here on tour the following month, on February 10. The Boston Symphony Orchestra has played the work on just one previous occasion, with Charles Dutoit conducting on April 11, 12, and 13, 1985.

“MÉTABOLES” CALLS FOR A LARGE ORCHESTRA of two flutes and two piccolos (doubling flutes), three oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, two temple blocks, side drum, small, medium, and large tom-toms, bass drum, small suspended cymbal, Chinese cymbal, medium and large tam-tams, crash cymbals, triangle, cowbell, xylophone, glockenspiel, celesta, harp, and strings.

In scientific language metabolae are insects that undergo metamophorsis, or some kind of organic change; and while Dutilleux in choosing the title for this work had no particular desire to evoke insects, he was deeply interested in metamorphosis—which might have been his title if Hindemith, Strauss, and others had not already composed works named Metamorphosen. As a composer, Dutilleux has always been concerned with the process of change, and he therefore prefers to write longer works in several movements so that the music has time to undergo the sort of subtle transformations that we might see in metabolic insects.

His advice for Métaboles is for the listener to focus on the continuity from one section to the next, since no movement, he insists, has vitality without the others, specifically with-

week 11 program notes 29 Program page from the only previous Boston Symphony performances of Dutilleux's "Métaboles" on April 11, 12, and 13, 1985, with Charles Dutoit conducting (BSO Archives)

30 out the movements that come before and after. The movements are not themselves long, but they have individual characters, especially in their scoring, and they exploit ideas and themes that hold the whole together. The links are not necessarily audible as a theme turning into a modification of itself, for sometimes the link is the very contrast of different types of music in juxtaposition, like negative and positive images of the same thing. The composer has compared the model to that of tiles on a roof, each one underlaying the next.

The first movement, Incantatoire, requires the whole orchestra but gives prominence to the winds, and also to the note E most obviously heard at the start in the note to which all efforts at building a theme keep returning. Dutilleux’s rhythms are not easily caught by the ear, so that emphases and accents are marked at unexpected moments. (He has said that the rhythmic freedom of modern music, which he attributed to the Polish composers Penderecki and Lutosławski, is “one of the most positive contributions of the new generation.”) The sonority of the wind chords is not unlike that of Messiaen. A trumpet takes over the duty of sounding the E, and after some brilliant display from two piccolos the music recalls the opening bars.

The continuity into the second section, Linéaire, is probably the easiest of the four transformations to detect, since the note E is still strong and it alternates as in the first movement with the B-flat below it. The scoring is now assigned to the strings in thick, gorgeous harmony, with an even flow that emphasizes the melody: linear indeed. A cello solo, beginning and ending on E, sings out above the rest and then merges into the gentle flow of chords.

A solo double bass, playing pizzicato, interrupts the soft haze of bowed strings, and the new tempo initiates a scherzo-like movement for Obsessionnel. The brass now have the prominent part, while smooth melody gives way to spiky intervals over a constantly repeating pattern, like variations. The main climax is also the central climax of the whole work.

week 11 program notes 31

S Archives BSO

Charles Munch and Henri Dutilleux at Symphony Hall in 1959, when the BSO premiered the composer’s Symphony No. 2, “Le Double,” a BSO commission

The fourth section, Torpide, is concentrated in the percussion, whose eerie sounds are supported by the equally eerie sound of double bass harmonics in chords. Muted brass echo the strings from the second section. This music, dark and strange, then comes to life as the last section, Flamboyant, begins. A soft rising scale in the harp signals the start of a movement of activity and brilliance, making extraordinary demands on all the players, and bringing together echoes and shapes from earlier sections in constant movement. The composition is full of intricate detail that cannot be, and is not supposed to be, heard, but every smallest element contributes to the whole, and for the final note, everyone comes together on the note E.

Of the end Dutilleux has said: “The circle is closed in a way that corresponds with the notion of time as circular, as in the seasons of the year. It’s a rather personal kind of form, and I have to say I’m happy with the term métaboles, even though some people have said it’s too closely linked to biology or even medicine.”

Dutilleux was younger than Messiaen and is older than Boulez. He represents a strong continuity in postwar French music, for he has consistently produced music of substance at regular intervals, and has recently mentioned his desire, in his late nineties, to write a second string quartet. He is not identified with any system or faith, as Messiaen is with Catholicism or Boulez with the postwar avant-garde, and he has never been a performer. He came to prominence soon after the war with a major piano sonata, subsequently writing two symphonies (the second of which was a BSO commission) and concerto-like works for Rostropovich and Isaac Stern (his later works all have titles derived from literary or poetic allusion, not conventional formal titles). He writes sensitively for the human voice and was for a long time concerned with radio drama when he worked for French radio, but he has never written an opera. In his early career he wrote half a dozen film scores for French films.

week 11 program notes 33

ihe .Lutch J. Michael

James Levine, Renée Fleming, and Henri Dutilleux following the BSO’s American premiere performance of the composer’s “Le Temps l’Horloge” in November 2007

There is a particular purity and integrity in Dutilleux’s music. He has never flirted with trendiness, never sought to outdo the latest manifestation of modernity, never compro- mised his inner vision. He is an artist through and through, at peace with his concept of the world and not desiring to impose his ideas on anyone, least of all his audience. His music speaks to us individually in many different ways, and because the language of music has no dictionary, we are free to interpret it in 2013 in ways that may differ entirely from any thoughts that came through his head in 1964.

Dutilleux has enjoyed a particularly close relationship with the Boston Symphony Orchestra ever since Charles Munch gave the U.S. premiere of his (first) Symphony in Boston in 1954, became a close friend of the composer, and commissioned the Symphony No. 2 for the BSO’s 75th anniversary, introducing it here in 1959. (The Symphony No. 2 was also led here by Seiji Ozawa in 2000 and James Levine in 2005.) Dutilleux’s string quartet Ainsi la nuit was a commission from the Koussevitzky Music Foundation for the Juilliard Quartet in 1977. In 1997 the BSO under Seiji Ozawa gave the world premiere of The shadows of time, which is divided into five continuous sections, like Métaboles, and is scored for orchestra with a child’s voice as soloist. In 1995 and 1998 Dutilleux was composer-in- residence at the Tanglewood Music Center. His most recent BSO commission, for the BSO’s 125th anniversary, was Le Temps l’Horloge for soprano and orchestra, given its American premiere here by James Levine with soloist Renée Fleming in 2007.

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Biography of a Year” (Boydell Press), was published last spring.

week 11 program notes 35

Pyotr Ilyich Tchaikovsky Violin Concerto in D, Opus 35

PYOTR ILYICH TCHAIKOVSKY was born at Votkinsk, Vyatka Province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He began work on the Violin Concerto at Clarens, Switzerland, in March 1878, completing it on April 11; but on the advice of his brother Modest and his student Yosif Kotek, he then took a few more days to replace the original Andante with the present Canzonetta. (The Andante survives as the “Méditation” that opens the set of pieces for violin and piano called “Souvenir d’un lieu cher,” Opus 42.) Leopold Auer, to whom the concerto was first dedicated, pronounced it impossible to play; the first performance was given by Adolf Brodsky at a Vienna Philharmonic concert conducted by Hans Richter on December 4, 1881.

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

In his rich four-volume biography of Tchaikovsky, David Brown devotes the entire second volume—“The Crisis Years, 1874-1878”—to a narrow, four-year span in the composer’s life. The crisis was real and had complicated elements, both professional and personal. Its centerpiece was the composer’s catastrophic marriage, a step taken in the hope of stopping supposition about his homosexuality. He and his bride had scarcely started off on their honeymoon before the composer recognized his folly; in torment, he ran away to Switzerland to try to forget. It was there that he composed the Violin Concerto.

The marriage was by no means Tchaikovsky’s only crisis during those years. At the beginning of that period he had composed a piano concerto for his close friend Nikolai Rubinstein, only to have the pianist declare the work worthless and unplayable. Utterly dismayed, Tchaikovsky finally managed to arrange a performance in far-away Boston; if it flopped, he would not be there to hear it himself. Ironically the piece quickly became one of the most popular of all piano concertos. Soon after, he composed the ballet Swan Lake, which was a failure in its first production. The composer went to his grave without ever knowing that the world would come to regard Swan Lake as a masterpiece.

week 11 program notes 37 Program page from the first complete Boston Symphony performances of Tchaikovsky's Violin Concerto on January 26 and 27, 1900, with soloist Alexandre Petschnikoff and Wilhelm Gericke conducting (BSO Archives)

38 There were some assorted triumphs, though. The Fourth Symphony—deeply etched with the composer’s Slavic fatalism—was not only a success, but marked one of the first major works he composed with the extraordinary patronage of Nadezhda von Meck, who sent him a regular stipend for a dozen years on the strict understanding that they were never to meet. The grateful composer declared that in the future his every note would be composed with an implicit dedication to her.

But in the aftermath of his marriage there was only flight, and frantic determination to get away. His wife Antonina was staying with his sister and her husband. Letters passed back and forth between all the members of the family, with Antonina sometimes making wild charges (e.g., that Tchaikovsky’s valet had bewitched him into hating her), sometimes expressing hope for a reconciliation, despite Tchaikovsky’s repeated insistence that such a thing could never be. He spent some months in Italy, where several of his brothers joined him, and he gradually grew calmer in the contemplation of Italian art and the Italian countryside. But financial necessity forced him to find a cheaper place to stay, and on March 9, 1887, he arrived in Clarens, Switzerland. He quickly telegraphed his student, friend, and possible lover, the violinist Yosif Kotek, who was then in Berlin, to inform him of the change of address. On the thirteenth he began a piano sonata, his first act of composition since the wedding. The next day Kotek arrived in Clarens. Within a few days, Tchaikovsky abandoned the piano sonata, which was not going well. Within a day or two, he and Kotek played through Lalo’s Symphonie espagnole, which, despite its title,

week 11 program notes 39

Yosif Kotek and Tchaikovsky in 1877

is a violin concerto. His interest in this piece (he noted that it had “a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies”) may well have turned his own mind in the direction of a violin concerto. He liked the way that Lalo does not strive after profundity, but carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans.

Perhaps it was this that persuaded him to give up the sonata entirely and turn to a concerto, particularly since he had a violinist at hand to give him technical advice about the solo part. On March 17 he began the new piece and discovered to his delight that, unlike the piano sonata, it went easily. In just eleven days he sketched the entire concerto. The composer’s brother Modest and Kotek expressed reservations about the slow movement, though they were enthusiastic about the two outer movements. Upon consideration, Tchaikovsky agreed with them and on April 5 replaced the original slow movement with a new piece. The enthusiasm of all three men was so great that Tchaikovsky finished the orchestration, too, in short order. By April 11 the concerto was complete.

Now, however, he was in for another professional crisis—a repetition of his experience with the First Piano Concerto. He dedicated the new work to Leopold Auer, hoping that Auer would play the first performance, which was advertised for March 22, 1879. The work had already been published, and Auer regretted (as he wrote thirty years later) that he had not been consulted before the work had been fixed in print. Auer is supposed to have declared the work “unplayable,” though he later defended himself by explaining that he meant only that, as written, some of the virtuoso passages would not sound as they should. In any case, Tchaikovsky was deeply wounded. Kotek himself declined to play the work in Russia. Two years later Tchaikovsky learned from his publisher that Adolf Brodsky had learned the piece and was planning to play it in Vienna. That performance, which took place at the end of 1881, elicited one of the most notorious reviews by Vienna’s con-

week 11 program notes 41 servative music critic Eduard Hanslick. Tchaikovsky never got over it; to the end of his life he could quote it by heart. The Russian composer Tchaikovsky is surely no ordinary talent, but rather, an inflated one, obsessed with posturing as a genius, lacking discrimination and taste.... The same can be said for his new, long, and ambitious Violin Concerto. For a while it proceeds soberly, musically, and not mindlessly, but soon vulgarity gains the upper hand and dominates until the end of the first movement. The violin is no longer played; it is tugged about, torn, beaten black and blue.... The Adagio is well on the way to recon- ciling us and winning us over, but it soon breaks off to make way for a finale that trans- ports us to the brutal and wretched jollity of a Russian church festival. We see a host of savage, vulgar faces, we hear crude curses, and smell the booze. In the course of a discussion of obscene illustrations, Friedrich Vischer once maintained that there were pictures one could see stink. Tchaikovsky’s Violin Concerto for the first time confronts us with the hideous idea that there may be compositions whose stink one can hear.

Hanslick, sitting in Vienna, found Russia, and everything Russian, as represented in Tchaikovsky’s music, to be uncivilized. How ironic that, among his contemporaries, Tchaikovsky was regarded as the westernized Russian, the one who had spurned the truly nationalistic approach of “The Five.” In any case, we have trouble today locating the “stink” in this music. For nearly a century it has simply been one of the four or five most popular violin concertos in the literature, which is answer enough to Hanslick.

The first movement starts with a simple, graceful melody in the violins—a melody that will not return (a trick Tchaikovsky also famously employed in the First Piano Concerto). Here we might even anticipate a quasi-classical piece like his Rococo Variations for cello and orchestra, but soon the orchestral part grows more portentous, preparing for the soloist’s entrance. The melodic flow of the exposition is a marvel of both sheer melodic invention and continuing development, as tiny figures from one melody crop up, subtly

42 varied, in the next. The Andante is an extended song (its heading, “Canzonetta,” is significant). During the months away from Russia, Tchaikovsky had written endlessly in his letters of his nostalgia, of his longing to be home again; he poured all of the yearning into the melancholy of this ardent movement. The finale is vigorous, even pictorial, with hints of peasant bagpipes and dances, vivid in its color and rhythm. Even at its most virtuosic, the solo part is designed to color and highlight the melodic unfolding of the movement. Surely it is this openhearted singing quality that wins all hearts.

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.

THEFIRSTAMERICANPERFORMANCE of music from Tchaikovsky’s Violin Concerto took place on February 11, 1888, in Boston, when Bernhard Listemann played just the first movement, with piano accompaniment. The first complete performance in the United States was on January 18, 1889, with Walter Damrosch conducting the New York Symphony Society and soloist Maud Powell. (A twenty-year-old violinist from Peru, Illinois, Powell had already played the first movement in New York the previous April with Anton Seidl conducting; she would later also introduce the Dvoˇrák and Sibelius concertos in this country.) It was also Walter Damrosch and the New York Symphony who gave the first complete Boston performance of the concerto, on January 13, 1881, with soloist Adolf Brodsky (who had played the premiere of the concerto in 1881).

THEFIRSTBOSTONSYMPHONYPERFORMANCES of music from Tchaikovsky’s Violin Concerto were of just the second and third movements, under Emil Paur in December 1893 in Boston with soloist Timothée Adamowski, and in December 1896 in Baltimore and New York with Carl Halir. The orchestra’s first complete performances were on January 26 and 27, 1900, with Alexandre Petschnikoff under Wilhelm Gericke’s direction. Petschnikoff also played it later with Karl Muck conducting. Boston Symphony performances of the concerto have also featured Karl Barleben (Gericke), Mischa Elman (Max Fiedler and Paul Paray), Fritz Kreisler (Fiedler and Muck), Kathleen Parlow (Fiedler), Anton Witek (Muck), Mishel Piastro (Pierre Monteux), Richard Burgin (Monteux and Serge Koussevitzky); Ferenc Vecsey and Efrem Zimbalist (both with Monteux); Carmela Ippolito (Koussevitzky), Toscha Seidel (Burgin); Ruth Posselt, Erica Morini, and Jascha Heifetz (all with Koussevitzky); Michèle Auclair (Charles Munch), Anshel Brusilow (Ernest Ansermet); Nathan Milstein, Zino Francescatti, Isaac Stern, and Henryk Szeryng (all with Munch); Itzhak Perlman and Pinchas Zukerman (both with Erich Leinsdorf); Joseph Silverstein (William Steinberg, Michael Tilson Thomas, Seiji Ozawa, and Kurt Masur); Boris Belkin, Isaac Stern, Viktoria Mullova, Gidon Kremer, Akiko Suwanai, Joseph Lin—playing just the first movement, and Daishin Kashimoto—also playing just the first movement (Ozawa); Vladimir Spivakov (Yuri Temirkanov), Perlman (Yoel Levi and Ozawa); Midori (Ozawa, Marek Janowski, Masur, and Leonard Slatkin); Shlomo Mintz (Masur), Anne-Sophie Mutter (André Previn); Joshua Bell (David Wroe, James Conlon, and Emmanuel Krivine); Sarah Chang (John Nelson), Cho-Liang Lin (Kent Nagano), and Gil Shaham (Neeme Järvi). The most recent subscription performances featured Joshua Bell, with Emmanuel Krivine in March 2006. The most recent Tanglewood performance featured Midori, with Leonard Slatkin on July 19, 2008.

week 11 program notes 43

Igor Stravinsky Symphony in Three Movements

IGOR FEDOROVICH STRAVINSKY was born at Oranienbaum, Russia, on June 17, 1882, and died in New York City on April 6, 1971. He composed the Symphony in Three Movements between 1942 and 1945, dedicating it to the New York Philharmonic Symphony Society. Stravinsky led the New York Philharmonic in the first performance on January 24, 1946. He also led the first Boston Symphony Orchestra performances of the work, a month later, on February 20, 1946, in Cambridge and on February 22 and 23 in Symphony Hall.

THE SCORE OF THE SYMPHONY IN THREE MOVEMENTS calls for two flutes and piccolo, two oboes, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, piano, harp, and strings. The pianist at these performances is Vytas Baksys.

It is curious that Igor Stravinsky, so closely associated with Russian themes, lived nearly as long in Los Angeles as he did in Russia—almost 30 years. He moved to southern Cali- fornia in June 1940, less than a year after arriving in the United States from Europe, and remained there until 1969, when he relocated to New York City. “If there ever was a home for Stravinsky, it was his house in West Hollywood,” former Los Angeles Philharmonic conductor Esa-Pekka Salonen has remarked. True, Stravinsky seems often to have viewed Los Angeles as little more than a way station, a sanctuary from the political turmoil and war that—inconveniently—kept disrupting his creative routine in Europe. More than any- thing, Stravinsky feared (in the words of his biographer Stephen Walsh) “being stranded on the wrong edge of civilization in the event of war or revolution.” Danger was not his thing. Los Angeles was about as far as the composer could get from the slaughter and mayhem that engulfed Europe and Russia after 1939.

One of the first major works for orchestra Stravinsky composed in the small house above Sunset Boulevard that he shared with his wife Vera was the Symphony in Three Move- ments. He completed it in 1945, the year the war finally ended and the year he became

week 11 program notes 45 Program page from the first Boston Symphony performance of Stravinsky's Symphony in Three Movements on February 20, 1946, in Cambridge, as part of an all-Stravinsky program with the composer conducting (BSO Archives)

46 an American citizen. Of all the music he composed in Los Angeles, this powerful piece has the closest connection to the city, and to its best-known business—the movies.

Soon after he landed in Los Angeles, Stravinsky began receiving proposals from Hollywood studios to write music for film projects. In 1942 he was commissioned to produce a score for a film about the Nazi invasion of Norway, The Commandos Strike at Dawn, but he balked at changes requested by Columbia and was eventually replaced by Louis Gruenberg, whose score was nominated for an Academy Award. Stravinsky recycled the music he had written into Four Norwegian Moods, a marvelously evocative piece for orchestra that almost recalls the lonely Nordic world of the symphonies of Sibelius.

In 1943 Stravinsky was approached to write the score for the film The Song of Bernadette, based on a novel by Franz Werfel. Stravinsky and Vera had become friendly in Los Angeles with Werfel and his wife, Alma Mahler, and according to some sources it was Werfel who suggested Stravinsky for the project. Stravinsky began to write some music for the film, but once again he was unable to come to an agreement with the studio, and the assignment was handed over to the experienced film composer Alfred Newman (who won an Oscar for his score). Around the same time, Stravinsky considered—and eventually rejected—two other film projects, the scores for Jane Eyre and North Star. Produced by Sam Goldwyn to a silly pro-Soviet script by Lillian Hellman about the Nazi invasion of a small village in Ukraine, North Star was eventually scored by Aaron Copland, whose musical vision of Ukraine has a strong American accent.

But Stravinsky had another more serious project in mind during his first few years in Los Angeles—an orchestral composition that progressed rather episodically from three different sources and found its final form as the Symphony in Three Movements. According to Alexander Tansman, Stravinsky initially thought of the piece as a “symphonic work with a concertante part for the piano” and played for him some music of this sort in 1942. “I thought of the work then as a concerto for orchestra,” Stravinsky told Robert Craft some years later. This conception subsequently evolved, however, into a three-movement

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week 11 program notes 47 Stravinsky in 1939 with one of his California acquaintances, Walt Disney, who used part of "The Rite of Spring" in the 1940 animated film "Fantasia"

piece, with the music already written for piano and orchestra forming only the first movement. For the second movement, Stravinsky recycled the music he had composed for The Song of Bernadette, for the scene “Apparition of the Virgin,” scored for solo harp with orchestra. The third and final movement was composed in 1945, and brings the harp and piano together with the orchestra.

Stravinsky was well aware that the prolonged genesis of the piece, and its disparate sources, resulted in a form that was not like that of a conventional symphony. “The formal substance of the Symphony—perhaps Three Symphonic Movements would be a more exact title—exploits the idea of counterplay among several types of contrasting elements,” he wrote in a 1963 program note. “One such contrast, the most obvious, is that of harp and piano, the principal instrumental protagonists.” But then none of Stravinsky’s mature works that include the word “symphony” in the title (Symphonies of Wind Instruments, Symphony of Psalms, Symphony in C) plays by the established rules of the genre.

In the same program note, Stravinsky also claims that the Symphony in Three Movements is a response to the events of World War II: “each episode in the Symphony is linked in my imagination with a concrete impression, very often cinematographic in origin, of the war.” The first movement, Stravinsky said, was “inspired by a war film, this time a documentary of scorched-earth tactics in China. The middle part of the movement—the music for clarinet, piano, and strings, which mounts in intensity and volume until the explosion of the three chords at No. 69—was conceived as a series of instrumental conversations to accompany a cinematographic scene showing the Chinese people scratch- ing and digging in their fields.” Newsreels and documentaries showing images of “goose- stepping soldiers” allegedly inspired the third movement (Con moto), with its “square march-beat, the brass-band instrumentation, the grotesque crescendo in the tuba....The exposition of the fugue and the end of the Symphony are associated in my plot with the rise of the Allies and the final, albeit rather too commercial, D-flat sixth chord—instead

48 of the expected C—tokens my extra exuberance in the Allied triumph.”

Stravinsky’s assertion that the Symphony in Three Movements had a specific program must be taken with a good deal of skepticism, however. It was very unlike Stravinsky, who always celebrated the abstract purity of music, to provide such a detailed explica- tion, and he did so in this case only after the completion of the piece. Some observers have suggested that the program may have been the work more of Stravinsky’s associate and co-author Robert Craft than of the composer himself. The 1963 note also concludes with an important qualification: “In spite of what I have said, the Symphony is not pro- grammatic. Composers combine notes. That is all. How and in what form the things of this world are impressed upon their music is not for them to say.”

One of the more unusual features of the Symphony in Three Movements is the use of a rumba rhythm at the start of the first movement in the piano part, with the meter changing each measure between 3/4 and 4/4, creating a dynamic, halting stop-and-start dance atmosphere accentuated by the piano’s ascending cluster chords. The metrical patterns here and in the subsequent movements are shifting and complex, reminding us of the younger Stravinsky of The Rite of Spring. In the second movement, in ABA form, the harmonic language is more stable, and the melodic writing for the solo harp with flute is more lyrical. A seven-bar Interlude leads directly into the third movement, which builds to an explosive conclusion with the return of the initial rumba rhythm.

Harlow Robinson harlow robinson, a frequent lecturer for the Boston Symphony Orchestra, Metropolitan Opera Guild, and Lincoln Center, is Matthews Distinguished University Professor of History at Northeastern University. His books include “Russians in Hollywood, Hollywood’s Russians” and “Sergei Prokofiev: A Biography.”

THEFIRSTAMERICANPERFORMANCEOFSTRAVINSKY’SSYMPHONYIN THREEMOVE- MENTS was given (as noted above) by the New York Philharmonic on January 24, 1946, with the composer conducting.

THEFIRSTBOSTONSYMPHONYPERFORMANCES took place a month later, on February 20, 22, and 23, 1946, with Stravinsky conducting, subsequent BSO performances being given by Richard Burgin (November/December 1946 and February 1948, including concerts in New Haven and New York in the latter month), Ernest Ansermet (December 1961, in Boston, Hartford, New York, and Providence), Colin Davis (February 1967), Michael Tilson Thomas (March/April 1970, in Boston, Washington, D.C., and New York), Charles Dutoit (the most recent subscription performances, in February 1981), and Andrew Davis (the orchestra’s most recent performance, and its only one at Tanglewood, on July 20, 2001).

week 11 program notes 49

Maurice Ravel “La Valse,” Choreographic poem

JOSEPH MAURICE RAVEL was born on March 7, 1875, in Ciboure, near Saint-Jean-de-Luz, Basses- Pyrénées, in the Basque region of France just a short distance from the Spanish border, and died on December 28, 1937, in Paris. He composed “La Valse” in 1919 and 1920, basing it on sketches he made before the war for a symphonic poem with the intended title “Wien” (“Vienna”). Ravel and Alfredo Casella performed a two-piano version of “La Valse” in November 1920 at a concert of Arnold Schoenberg’s Society for Private Musical Performances in Vienna. The orchestral version was given its premiere by Camille Chevillard and the Lamoureux Orchestra of Paris on December 12 that year.

THE SCORE OF “LA VALSE” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, triangle, tambourine, side drum, bass drum, cymbals, castanets, tam-tam, cro- tales, two harps, and strings.

Ravel found it difﬁcult to return to normal work after the ravages of the First World War. Quite aside from the long interruption in his compositional activity and the loss of many friends, he was suffering from a recurring insomnia that plagued him for the rest of his life and played a considerable role in the dramatic reduction of new works. He had already started sketching a symphonic poem that was intended to be a musical depiction of Vienna; naturally it was a foregone conclusion to cast the work as a grand orchestral waltz. Ravel had never yet visited the Austrian capital (he was only to do so in 1920, after ﬁnishing his big waltz composition), but he “knew” Vienna through the composers, going back to Schubert and continuing with the Strauss family and many others who had added a special Viennese lilt to the waltz. (In this sense Ravel was as familiar with Vienna as Bizet and Debussy were with Spain when they composed what we still regard as the most convincing “Spanish” music ever written.)

The first sketches for Wien apparently date from 1907, when Ravel was completing

week 11 program notes 51 Program page from the first Boston Symphony performances of Ravel's "La Valse," on January 13 and 14, 1922, with Pierre Monteux conducting (BSO Archives)

52 another musical travelogue, the Rapsodie espagnole. He began orchestrating the work during 1914 but ceased after the outbreak of hostilities; he complained in his letters that the times were not suitable for a work entitled “Vienna.” After the war, Ravel was slow to take up the composition again. Only a commission from Serge Diaghilev induced him to finish it, with the new title “La Valse, Poème chorégraphique,” and intended for production by the Russian Ballet. When the score was finished, however, Diaghilev balked. He could see no balletic character in the music, for all its consistent exploitation of a dance meter, and he refused to produce the ballet after all. (This marked the end of good relations between the composer and the impresario.) So La Valse was first heard in concert form; only in 1928 did Ida Rubenstein undertake a ballet production of the score, for which Ravel added a stage direction: “An Imperial Court, about 1855.” The score bears a brief scenic description: Clouds whirl about. Occasionally they part to allow a glimpse of waltzing couples. As they gradually lift, one can discern a gigantic hall, filled by a crowd of dancers in motion. The stage gradually brightens. The glow of chandeliers breaks out fortissimo. The hazy beginning of La Valse perfectly captures the vision of “clouds” that clear away to reveal the dancing couples. The piece grows in a long crescendo, interrupted and started again, finally carried to an energetic and irresistible climax whose violence hints at far more than a social dance.

Ravel’s date of “1855” for the mise-en-scène was significant. It marked roughly the halfway point of the century of Vienna’s domination by the waltz—the captivating, care- free, mind-numbing dance that ﬁlled the salons, the ballrooms, and the inns, while the whole of Austrian society was slowly crumbling under an intensely reactionary government, the absolutism of Emperor Franz Joseph, who was twenty-ﬁve in 1855 and reigned until the middle of the First World War. The social glitter of mindless whirling about concealed the volcano that was so soon to explode. Ravel’s La Valse has the captivating rhythms in full measure, but the music rises to an expressionistic level of violence, hinting

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week 11 program notes 53 54 Poster from a 1930 Ravel festival in Paris

at the concealed rot of the society. Would La Valse have been different if composed before the horrors of the war? Who can tell? In any case, consciously or not, Ravel’s brilliantly orchestrated score captures the glitter and the violence of a society that, even as he was composing, had passed away.

Steven Ledbetter

the american premiere of “la valse” was given on October 28, 1921, with Alfred Hertz conducting the San Francisco Symphony Orchestra. the ﬁrst boston symphony performances of “La Valse” were on January 13 and 14, 1922, with Pierre Monteux, subsequent BSO performances being led by Monteux, Serge Koussevitzky, Ravel himself (in January 1928), Richard Burgin, Paul Paray, Leonard Bernstein, Charles Munch, Ernest Ansermet, Georges Prêtre, Michael Tilson Thomas, Seiji Ozawa, Charles Dutoit, Kurt Masur, Dennis Russell Davies, Christoph von Dohnányi, Ludovic Morlot, André Previn, Stéphane Denève (the most recent subscription performances, in April 2011), and Andris Nelsons (the most recent Tanglewood performance, on July 14, 2012, in the concert marking the 75th anniversary of the Tanglewood Music Festival).

week 11 program notes 55 56 To Read and Hear More...

Caroline Potter’s 1997 Henri Dutilleux: His Life and Works provides an excellent introduction to the composer and his music (Ashgate). Henri Dutilleux: Mystère et mémoire des sons: Entrétiens avec Claude Glayman (“Mystery and Memory of Sounds: Conversations with Claude Glayman”), published originally in 1994 and expanded in 1997, includes several useful appendices, among them a list of works, discography, bibliography, and filmography. This appeared in English translation as Henri Dutilleux: Music—Mystery and Memory (also Ashgate). Gernot Gruber’s article in the revised (2001) Grove Dictionary of Music and Musicians—an article more than twice as long as Gruber’s earlier entry in the 1980 Grove— is recent enough to include the BSO-commissioned The shadows of time (1997), though not the BSO’s 125th Anniversary Commission Le Temps l’Horloge, premiered here in 2007.

Two multi-disc boxes, both including Métaboles, offer excellent opportunities to sample a wide range of Dutilleux’s music. The composer’s complete orchestral works to the year 2000—including the Charles Munch/BSO-commissioned Symphony No. 2 (Le Double) and the more recent BSO commission The shadows of time—are in a four-disc box with Yan Pascal Tortelier conducting the BBC Philharmonic (Chandos). A three-disc box issued in 1996 to mark the composer’s eightieth birthday includes the symphonies 1 and 2 with Daniel Barenboim conducting the Orchestre de Paris; Métaboles and Timbres, espace, movement with Mstislav Rostropovich conducting the Orchestre National de France; Mystère de l’instant, for twenty-four strings, cimbalom, and percussion, with Paul Sacher

week 11 read and hear more 57 58 (the work’s commissioner and dedicatee) conducting the Collegium Musicum Zürich, and a number of piano, chamber, and vocal works (Erato). Dutilleux’s BSO commission The shadows of time was issued on an Erato CD “single” in a recording drawn from the repeat performances given here by Seiji Ozawa and the BSO in March 1998. The BSO co-commission Le Temps l’Horloge was released on CD in 2009 by the Théatre des Champs-Élysées, Paris—a recording taken from the May 2009 world premiere there of the work’s expanded, final version with Seiji Ozawa, Renée Fleming, and the Orchestre National de France. (An orchestral interlude and fourth song were added by the composer to the original three-song version.) Charles Munch recorded Métaboles with the French National Radio Orchestra (originally Erato, reissued on Apex; Munch gave the Paris premiere with that orchestra in November 1966). Other recordings of Métaboles include Semyon Bychkov’s with the Orchestre de Paris (Philips), Hans Graf’s with the Bordeaux Aquitaine National Orchestra (Arte Nova), and Michel Plasson’s with the Orchestre Nationale du la Capitole de Toulouse (EMI).

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton). The Violin Concerto is discussed in volume II, “The Crisis Years: 1874-1878.” More recently, Brown has produced Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Brown discusses Tchaikovsky’s concertos in his chapter on “The Con- certo in Pre-Revolutionary Russia” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and for its wealth of illustrations (Scribners). Warrack is also the author of the short volume Tchaikovsky Symphonies & Concertos in the series of BBC Music Guides (University of Washington paperback). Anthony Holden’s Tchaikovsky is a single-volume biography that gives ample space to the theory that Tchaikovsky committed suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study also takes a close look at this question (Oxford). Michael Steinberg’s The Concerto–A Listener’s Guide includes his program notes on Tchaikovsky’s two piano concertos, the Violin Concerto, and his Variations on a Rococo Theme for cello and orchestra (Oxford paperback).

The Boston Symphony Orchestra recorded Tchaikovsky’s Violin Concerto in 1953 with Nathan Milstein under Charles Munch (RCA), in 1959 with Henryk Szeryng under Munch (RCA), in 1967 with Itzhak Perlman under Erich Leinsdorf (RCA), and in 1985 with Viktoria Mullova under Seiji Ozawa (Philips). Among countless other recordings are those featuring Joshua Bell with Michael Tilson Thomas and the Berlin Philharmonic (Sony Classical), Jascha Heifetz with Fritz Reiner and the Chicago Symphony (RCA), David Oistrakh with Franz Konwitschny and the Dresden Staatskapelle (Deutsche Grammophon “Originals”), Itzhak Perlman with Zubin Mehta and the Israel Philharmonic (EMI), Anne-Sophie Mutter with André Previn and the Vienna Philharmonic (Deutsche Grammophon), Isaac Stern with Eugene Ormandy and the Philadelphia Orchestra (Sony Classical), and Maxim Vengerov with Claudio Abbado and the Berlin Philharmonic (Teldec).

week 11 read and hear more 59 Stephen Walsh, who wrote the Stravinsky article in the 2001 Grove Dictionary of Music and Musicians, is also author of a two-volume Stravinsky biography: Stravinsky–A Creative Spring: Russia and France, 1882-1934 and Stravinsky–The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of California). Other useful books include The Cambridge Companion to Stravinsky, edited by Jonathan Cross, which includes a variety of essays on the composer’s life and works (Cambridge University Press) and Michael Oliver’s Igor Stravinsky in the wonderfully illustrated series “20th- Century Composers” (Phaidon paperback). Stephen Johnson discusses Stravinsky’s symphonies in his chapter “After Mahler: The Central European Symphony in the Twentieth Century” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer’s life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Noteworthy among the many specialist publications are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), and Richard Taruskin’s two-volume, 1700-page Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra,” which treats Stravinsky’s career through the early 1920s (University of California).

60 Stravinsky himself recorded the Symphony in Three Movements with the Columbia Symphony Orchestra in 1961 (Sony). There are live recordings under the composer’s direction with the BBC Symphony Orchestra (BBC Legends) and with the Southwest German Radio Symphony Orchestra (Music & Arts). Other recordings include Pierre Boulez’s with the Chicago Symphony Orchestra (CSO Resound) and Berlin Philharmonic (Deutsche Grammophon), Robert Craft’s with the Philharmonia Orchestra (Naxos), Charles Dutoit’s with the Orchestre de la Suisse Romande (Deccas), Valery Gergiev’s with the London Symphony Orchestra (LSO Live), Simon Rattle’s with the Berlin Philhar- monic (EMI), and Michael Tilson Thomas’s with the London Symphony Orchestra (Sony).

Roger Nichols’s Ravel, published in 2011 (Yale University Press), has now replaced his earlier biography of the composer that was part of the “Master Musicians” series. Nichols also assembled Ravel Remembered, which brings together recollections from musicians and non-musicians who knew the composer personally (Farrar Straus & Giroux). Gerald Larner’s Maurice Ravel is one of the many well-illustrated volumes in the biographical series “20th-Century Composers” (Phaidon paperback). Also useful are The Cambridge Companion to Ravel, edited by Deborah Mawer (Cambridge University Press), Arbie Orenstein’s Ravel: Man and Musician (Dover), Orenstein’s A Ravel Reader: Correspondence, Articles, Interviews (also Dover), and Benjamin Ivry’s Maurice Ravel: a Life (Welcome Rain). Michael J. Puri’s recent Ravel the Decadent: Sublimation and Desire examines the composer’s aesthetic, and that of his time, through close analysis of his music, particularly Daphnis et Chloé (Oxford University Press). Laurence Davies’s Ravel Orchestral Music in the series of BBC Music Guides provides a good brief introduction to that subject (University of Washington paperback). Also out of print but worth seeking is Davies’s The Gallic Muse, a collection of essays on Fauré, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes).

There have been five commercial recordings by the Boston Symphony Orchestra of La Valse: from 1930 under Serge Koussevitzky; from 1955 (monaural) and 1962 (stereo) under Charles Munch (both RCA), from 1974 under Seiji Ozawa (Deutsche Grammophon), and from 1995 under Bernard Haitink (Philips). An exciting 1962 Munch/BSO broadcast is in the twelve-disc box “Boston Symphony Orchestra, Symphony Hall Centennial Celebration: From the Broadcast Archives 1943-2000” (available at the Symphony Shop). Other choices, of varying vintage, include Ernest Ansermet’s with the Orchestre de la Suisse Romande (Decca), Pierre Boulez’s with the New York Philharmonic (Sony) and Berlin Philharmonic (Deutsche Grammophon), Charles Dutoit’s with the Montreal Symphony (Decca), and Yannick Nézet-Séguin’s with the Rotterdam Philharmonic (EMI). Recordings of the two-piano version include, among others, two with Martha Argerich (with Alexandre Rabinovich most recently, on Warner Classics; and with Nelson Freire on Philips); Vladimir Ashkenazy and Vovka Ashkenazy (London/Decca), and Earl Wild with Christian Steiner (a reissue on Ivory Classics).

Marc Mandel

week 11 read and hear more 61

Guest Artists

Alan Gilbert

New York Philharmonic music director Alan Gilbert, the first native New Yorker to hold the post, began his tenure in September 2009. He has earned praise for his creative approach to programming and has also forged artistic partnerships, introducing the positions of composer- in-residence and artist-in-residence, held in the 2012-13 season by Christopher Rouse and pianist Emanuel Ax, respectively; an annual, multi-week festival, which this season is “The Bach Variations” in collaboration with the 92nd Street Y; and CONTACT!, the new-music series in which Philharmonic musicians perform works by today’s composers in more intimate venues. In 2012-13, Mr. Gilbert conducts world premieres by Anders Hillborg, Steven Stucky, and Christopher Rouse; presides over a cycle of Brahms’s complete symphonies and concertos; continues a multi-year initiative to perform and record Carl Nielsen’s six symphonies and three concertos; conducts Bach’s Mass in B minor and an all-American program that includes Ives’s Fourth Symphony; and leads the Philharmonic on a European tour. The season concludes with four programs showcasing themes and ideas that he has introduced since becoming music director, including the season finale: a theatrical reimagining of Stravinsky’s Petrushka and The Fairy’s Kiss in collaboration with director/designer Doug Fitch that features New York City Ballet principal dancer Sara Mearns. Last season’s highlights included performances of three Mahler symphonies, including the Second, Resurrection, for September 10’s “A Concert for New York”; the Philharmonic’s first International Associates residency at London’s Barbican Centre as part of its 2012 tour; a tour to California; and “Philharmonic 360,” the Philharmonic and Park Avenue Armory’s acclaimed spatial music program featuring Stock- hausen’s Gruppen. Highpoints of Mr. Gilbert’s first two Philharmonic seasons included Janáˇcek’s

week 11 guest artists 63 The Cunning Little Vixen, building on 2010’s staging of Ligeti’s Le Grand Macabre; world premieres of works by Magnus Lindberg, John Corigliano, Christopher Rouse, and composers featured in CONTACT!; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; four concerts at Carnegie Hall; and four tours to Europe, as well as the “Asia Horizons” tour, which included the Philharmonic’s Vietnam debut at the historic Hanoi Opera House. In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at the Juilliard School. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he also regularly conducts such leading orchestras as the Boston Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the Berlin Philharmonic. His 2012-13 season includes appearances with the Boston Symphony Orchestra, Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, NDR Symphony Orchestra, and Berlin Staatskapelle. Mr. Gilbert made his acclaimed Metro- politan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramo- phone magazine. Mr. Gilbert studied at Harvard University, the Curtis Institute of Music, and Juilliard and was assistant conductor of the Cleveland Orchestra (1995–97). In May 2010 he received an honorary doctorate from Curtis, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.” Alan Gilbert has appeared with the Boston Symphony Orchestra on three previous occasions: leading music of Wolf, Beethoven, and Respighi for his BSO debut at Tanglewood in August 1999; and leading subscription programs of Kirchner, Sibelius, and Schumann in February 2003 (a program also performed in Hartford), and of Sibelius, Rachmaninoff, and Ives in March 2009.

Lisa Batiashvili

Violinist Lisa Batiashvili performs in the United States every season with the New York Phil- harmonic and regularly appears with the Los Angeles Philharmonic, Boston Symphony, Chicago Symphony, and Philadelphia Orchestra. In Europe she has regular engagements with

64 the Berlin Philharmonic, Leipzig’s Gewandhaus Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, the Staatskapelle Dresden, and the Chamber Orchestra of Europe. The 2012-13 season sees the start of an important residency with the Staatskapelle Dresden. Following several successful performances and a joint recording of Brahms’s Violin Concerto (for Deutsche Grammophon), Ms. Batiashvili was awarded the title Capell-Virtuosin to mark her collaboration with that orchestra, including a series of concerts and a United States tour with Christian Thielemann. This season also brings a residency with the WDR Sinfonieorchester Köln and new musical partnerships with Daniel Barenboim and the Staatsoper Berlin, Gustavo Dudamel and the Gothenburg Symphony Orchestra, Thomas Hengelbrock and the NDR Sinfonie- orchester, and Mariss Jansons and the Royal Concertgebouw Orchestra. Ms. Batiashvili also returns to the Berlin Philharmonic with Iván Fischer and to the Philharmonia Orchestra with Paavo Järvi. Lisa Batiashvili records exclusively for Deutsche Grammophon. She received an Echo Klassik award for her debut DG album, released in February 2011, featuring Shostakovich’s Violin Concerto No. 1 with the Symphonieorchester des Bayerischen Rundfunks and Esa-Pekka Salonen. Her latest album, just released, includes Brahms’s Violin Concerto with the Staats- kapelle Dresden and Christian Thielemann. A dedicated chamber musician, Ms. Batiashvili regularly appears at the Salzburg, Edinburgh International, Schleswig-Holstein, Heimbach, and Verbier festivals. This season she tours as part of a quartet with François Leleux, Lawrence Power, and Sebastian Klinger, and tours in recital with pianist Paul Lewis. Committed to performing new music, she has given several world premieres in recent seasons, including works by Magnus Lindberg and Nicolas Bacri. Lisa Batiashvili first came to international attention in the 1995 Sibelius Competition in Helsinki, where, at sixteen, as the youngest competitor, she was awarded second prize. In 2003 she was named winner of the Schleswig-Holstein Music Festival’s Leonard Bernstein Award and was later awarded the Beethoven Ring Prize from the Beethoven Festival Bonn. In 2008 she was honored with the MIDEM Classical Award and the Choc de l’année for her Sony recording of the Sibelius and Lindberg violin concertos. She received an Echo Klassik award that same year and was recently announced as the winner of the prestigious International Accademia Musicale Chigiana Prize in Siena. Ms. Batiashvili studied with Ana Chumachenko at Hamburg’s Musikhochschule, having previously worked with Mark Lubotsky. She plays the 1715 ex-Joachim Stradivarius, kindly loaned by the Nippon Music Foundation. Lisa Batiashvili has appeared twice previously with the Boston Symphony Orchestra: as soloist in Sibelius’s Violin Concerto for her BSO debut at Tanglewood in July 2005, and as soloist in Prokofiev’s Violin Concerto No. 2 for her subscription series debut in March 2009.

week 11 guest artists 65 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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. • 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)

66 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 • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • 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

week 11 the great benefactors 67 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestraís founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 30, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Peter and Anne Brooke • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous

encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Mr. and Mrs. John M. Bradley • Jan Brett and Joseph Hearne • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O’Block • Drs. Joseph and Deborah Plaud • William and Lia Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2)

maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Lorraine D. and Alan S. ‡ Bressler • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança •

68 Happy and Bob Doran • Julie and Ronald M. Druker • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters patron $10,000 to $14,999 Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Donna and Don Comstock • Mrs. William H. Congleton ‡ • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (5) sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Mrs. Hope Lincoln Baker • Judith and Harry Barr • John and Molly Beard • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Robert and Sara Danziger • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Raymond and Joan Green • Vivian and Sherwin Greenblatt •

week 11 the higginson society 69 The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Kristin A. Mortimer • Mr. and Mrs. Rodger P. Nordblom • Mr. and Mrs. Joseph O’Donnell • Peter and Minou Palandjian • Mr. and Mrs. Joseph M. Paresky • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • John and Katherine Stookey • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Dr. Magdalena Tosteson • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (5)

member $3,000 to $4,999 Mrs. Herbert Abrams • Mariann and Mortimer Appley • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • Deborah Davis Berman and William H. Berman • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi • Annabelle and Benjamin Bierbaum • Jim and Nancy Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Ms. Yi-Hsin Chang and Mr. Eliot Morgan • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Marvin and Ann Collier • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Drs. Anna L. and Peter B. Davol • Ashley Denton • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. Harriett M. Eckstein • Mrs. William V. Ellis • Priscilla Endicott • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell •

70 Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mary and Melvin Field • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Roberta Goldman • Adele C. Goldstein • Mr. Jack Gorman • Phyllis and Robert Green • Harriet and George Greenfield • Madeline L. Gregory • Mr. and Mrs. Nicholas P. Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Janice Harrington and John Matthews • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Joanie V. Ingraham • Mr. and Mrs. R. Blake Ireland • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Mr. Mason J. O. Klinck, Sr. • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Brenda G. Levy • Emily Lewis • Christopher and Laura Lindop • Mrs. Satoru Masamune • Michael and Rosemary McElroy • Mr. and Mrs. Jean Montagu • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mr. and Mrs. Robert T. O’Connell • Mr. and Mrs. Gerald F. O’Neil • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Mrs. Kitty Pechet • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Dr. Calvin J. Pierce • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John S. Reidy • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene and David T. Rubin • Jordan S. Ruboy, M.D. • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Robert E. Scully, M.D. • Eleanor and Richard Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann • Valerie and John Stelling • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone • Henry S. Stone • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Mr. and Mrs. John H. Valentine • Martha Voisin • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mrs. Mary Wilkinson-Greenberg ‡ • Mr. and Mrs. Dudley H. Willis • Mrs. Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood • Jane S. Young • Anonymous (10)

week 11 the higginson society 71

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, Tanglewood Festival 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 • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 11 administration 73 74 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, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, 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, Assistant 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, 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 • 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

week 11 administration 75 76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • 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

week 11 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier 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 boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 11 administration 79 Next Program…

Thursday, January 17, 8pm Friday, January 18, 8pm (UnderScore Friday concert, including comments from the stage) Saturday, January 19, 8pm

daniele gatti conducting

verdi requiem mass for four solo voices, chorus, and orchestra, in memory of alessandro manzoni (marking the bicentennial of verdi’s birth) Requiem and Kyrie Dies irae Dies irae Rex tremendae Tuba mirum Recordare Mors stupebit Ingemisco Liber scriptus Confutatis Quid sum miser Lacrymosa Offertorio (Domine Jesu Christe) Sanctus Agnus Dei Lux aeterna Libera me fiorenza cedolins, soprano ekaterina gubanova, mezzo-soprano fabio sartori, tenor carlo colombara, bass tanglewood festival chorus, john oliver, conductor

To mark the bicentennial of Verdi’s birth in 1813, Italian conductor Daniele Gatti, music director of the Orchestre National de France, leads the BSO in three performances of the composer’s Requiem with the Tanglewood Festival Chorus and four vocal soloists all making their BSO debuts. One of the greatest of all works for orchestra, soloists, and chorus, Verdi’s massive, theatrical Requiem was completed in 1874, dedicated to the memory of the great Italian poet and novelist Alessandro Manzoni—a personal hero of Verdi’s—and premiered on the first anniversary of Manzoni’s death.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Sunday, January 13, 3pm Thursday ‘A’ January 31, 8-9:55 Jordan Hall, New England Conservatory Friday ‘B’ February 1, 1:30-3:25 BOSTONSYMPHONYCHAMBERPLAYERS Saturday ‘B’ February 2, 8-9:55 MARCELOLEHNINGER, conductor Tuesday ‘B’ February 5, 8-9:55 JONATHAN BASS, piano ANDRISNELSONS, conductor BAIBASKRIDE LUTOSŁAWSKI Dance Preludes for flute, oboe, , violin clarinet, bassoon, horn, violin, SHOSTAKOVICH Violin Concerto No. 1 viola, cello, and double bass TCHAIKOVSKY Symphony No. 5 (1959) FRANK Sueños de Chambi for flute and piano (2008) Thursday ‘B’ February 7, 8-10 COPLAND Appalachian Spring (original Friday ‘B’ February 8, 1:30-3:30 chamber version) Saturday ‘A’ February 9, 8-10 Tuesday ‘B’ February 12, 8-10 Thursday ‘B January 17, 8-9:35 CHRISTOPHVONDOHNÁNYI, conductor UnderScore Friday January 18, 8-9:45 RENAUDCAPUÇON, violin (includes comments from the stage) BRAHMS Variations on a Theme by Saturday ‘B’ January 19, 8-9:35 Haydn DANIELE GATTI, conductor SIBELIUS Violin Concerto FIORENZACEDOLINS, soprano BEETHOVEN Symphony No. 5 EKATERINA GUBANOVA, mezzo-soprano FABIOSARTORI, tenor CARLOCOLOMBARA, bass Thursday ‘D’ February 14, 8-10:05 TANGLEWOOD FESTIVAL CHORUS, Friday ‘A’ February 15, 1:30-3:35 JOHNOLIVER, conductor Saturday ‘A’ February 16, 8-10:05 VERDI Requiem CHRISTOPHVONDOHNÁNYI, conductor RADULUPU, piano MOZART Piano Concerto No. 23 in A, Thursday ‘C’ January 24, 8-9:55 K.488 Friday ‘B’ January 25, 1:30-3:25 BRUCKNER Symphony No. 4, Romantic Saturday ‘A’ January 26, 8-9:55 CHARLESDUTOIT, conductor STEPHENHOUGH, piano HINDEMITH Symphonic Metamorphoses on Themes of Weber LISZT Piano Concerto No. 1 PROKOFIEV Suite from Romeo and Juliet

Programs and artists subject to change.

week 11 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 11 symphony hall information 83 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.