boston symphony orchestra summer 2014

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

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Noubar Afeyan • Peter C. Andersen • 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 • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • 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. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • 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 • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck† • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

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

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

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifica- tions, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collabora- tion between the acoustical consultant Bolt Beranek and Newman and archi- tect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expan- sion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individ- ual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

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

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains informa- tion documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was origi- nally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

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

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further informa- tion about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the pub- lic, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2014

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

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

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the begin- ning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musi- cians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, intro- duced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orches- tra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particu- larly from significant American composers; issued a number of live concert perform- ances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, edu- cational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, August 1, 6pm (Prelude Concert) 2 VALERIA VILKER KUCHMENT, violin; ADAM ESBENSEN, cello; VYTAS BAKSYS, piano/celesta; TIMOTHY GENIS, KYLE BRIGHTWELL, and MATTHEW MCKAY, percussion Music of Schnittke and Shostakovich

Friday, August 1, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA MARCELO LEHNINGER conducting; JEAN-YVES THIBAUDET, piano; THOMAS ROLFS, trumpet Music of Tchaikovsky, Shostakovich, and Schumann

Saturday, August 2, 8:30pm 20 BOSTON POPS ORCHESTRA JOHN WILLIAMS conducting “John Williams’ Film Night”

Sunday, August 3, 2:30pm 29 BOSTON SYMPHONY ORCHESTRA JUANJO MENA conducting; AUGUSTIN HADELICH, violin Music of Haydn, Mozart, and Beethoven

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 1, are scheduled to include pianist Emanuel Ax, violinist Augustin Hadelich, and BSO principal trumpet Thomas Rolfs. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 16, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

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

TANGLEWOODWEEK 5 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, August 1, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

VALERIA VILKER KUCHMENT, violin ADAM ESBENSEN, cello VYTAS BAKSYS, piano/celesta TIMOTHY GENIS, KYLE BRIGHTWELL, and MATTHEW MCKAY, percussion

SCHNITTKE “Prelude in Memoriam Dmitri Shostakovich” for violin and tape

SHOSTAKOVICH Symphony No. 15, arranged by Viktor Derevianko (with Mark Petarsky) for violin, cello, piano, celesta, and percussion Allegretto Adagio Allegretto Adagio—Allegretto

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

NOTES ON THE PROGRAM

In a 1975 tribute to Dmitri Shostakovich (1906-1975), Alfred Schnittke (1934-1998) wrote this about the composer who served as his moral and creative inspiration for nearly twenty years: “Shostakovich’s art is an amazing case of unceasing renewal, of constant absorption of everything fresh and new that blooms every springtime. The composer has reworked and forged together many kinds of influences, but the music always remains something only he—Shostakovich—could write.” Of particular importance for Schnittke were Shostakovich’s later works, such as the Eighth String Quartet and the Fifteenth Symphony, with their numerous citations from Shosta- kovich’s own music and from other composers. “When images of Shostakovich’s own musical past meet in musical collage with images from the history of music, what

2 emerges is an amazing effect of ‘objectivication’—the joining of the individual with the universal. This is also a way to solve the greatest challenge in the life of an artist—how to influence the world through merging with it.” After Shostakovich’s death in 1975, Schnittke, then forty-one years old, was seen by many as his most obvious disciple. Other composers had a much closer personal relationship with Shostakovich, but it was Schnittke who inherited, according to Alexander Ivashkin, the mastery of the “electricified subtext” that turned the pre- mieres of new works of both composers into watershed political-cultural events. Schnittke’s pervasive use of “polystylistic” eclecticism expanded on models provided by Shostakovich. Both artists inhabited the perilous territory between official Soviet culture and critical dissidence. Unlike Shostakovich, however, Schnittke was fortunate to live beyond the collapse of the USSR in 1991 into the post-Communist era and to see a new Russia, liberated from stifling totalitarian ideology. Schnittke felt a special affinity for Shostakovich’s “farewell” Symphony No. 15. For Schnittke, it represented an “absolutely unique intersection of time, where the past enters into a new relationship with the present, intruding like the ghost of Hamlet’s father into the musical reality—and even forming it.” And indeed, the Fifteenth is unusual for Shostakovich’s work as a symphonist in several ways. Most importantly, it features quotations from works of other composers (Rossini’s overture to William Tell; Wagner’s Die Walküre and Tristan und Isolde; a song by Mikhail Glinka) and from Shostakovich’s own works, juxtaposed in collage technique. Moreover, the Fifteenth includes several themes organized according to the dodecaphonic (twelve-tone) method (in the second and third movements), which Shostakovich used sparingly in some of his late works. Dodecaphony, a form of composition in which a series of pitches becomes the basis of the melodic and harmonic structure, was closely associ- ated with the music of Arnold Schoenberg and the New Viennese School, and had been virtually banned from Soviet music as a decadent, formalist, and inaccessible western import. Among those attending the triumphant premiere of the Fifteenth in January 1972 was Victor Derevianko, a young pianist and chamber musician. In fact, Derevianko already knew the symphony well, having performed it a few months earlier for an official audience at the Union of Soviet Composers with Mikhail Muntian in a two-piano transcription prepared by the composer. What immediately impressed Derevianko was the work’s “strangeness,” but also its “chamber-like quality of unique

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 3 4 lucidity,” as he wrote later. With Shostakovich’s permission, Derevianko created a transcription for the piano trio of which he was then a member, with celesta and three percussionists on thirteen percussion instruments. Renowned percussionist Mark Petarsky helped to orchestrate and rescore the percussion parts. Derevianko’s arrangement was composed in 1972 and first performed at the Concert Hall of the Gnessin Institute in Moscow on September 23, 1972, the piano trio also including the violinist Valeria Vilker—now known to Boston Symphony audiences as BSO violinist Valeria Vilker Kuchment—and cellist Mark Drobinsky. “My task,” wrote Derevianko, “was to preserve all the unique sounds and effects of the work. Therefore the percussion and celesta parts were left intact, the string parts were given over, as a whole, to the violin and cello, and the brass and woodwind, being closest in timbre, to the piano.” In 1974, Derevianko emigrated to Israel. In 1995, his former Moscow colleague, violinist Gidon Kremer, performed the tran- scription at the Lockenhaus Festival, and later recorded it. In part because of its ability to produce quarter-tones and other pitches “between the keys” of the piano, the violin also held a special appeal for Schnittke, who began searching for alternatives to conventional tonality from the very beginning of his career. His first mature work (in 1957) was a Concerto for Violin and Orchestra, and Schnittke produced three more violin concerti through 1984. Composed in 1975, shortly after Shostakovich’s death, the short but masterful “Prelude in Memoriam Dmitri Shostakovich” is structured around the complex inter- play of the musical “signatures” of Bach (BACH: B-flat–A–C–B, B and H being the German notation for B-flat and B-natural, respectively) and Shostakovich (DSCH: D–E-flat–C–B, S being the German notation for E-flat), symbolizing their similar musical and historical stature. As is well known, Shostakovich frequently incorporat- ed his musical monogram D-S-C-H into his compositions, most notably in the Eighth String Quartet and the Tenth Symphony. The note D is a central idea here, pulsat- ing in the opening measures and throughout the piece. About halfway through, a second violin joins the first, instructed to play either offstage or to be heard on tape, creating the effect of historical distance. After deconstructing the two signatures in various intricate patterns, Schnittke concludes by bringing together—almost inaudi- bly—the two notes and letters the two masters shared: C and H (C and B).

HARLOW ROBINSON Harlow Robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University whose books include Sergei Prokofiev: A Biography and Russians in Hollywood: Hollywood’s Russians and who lectures regularly for the Boston Symphony, Metropolitan Opera Guild, and Aspen Music Festival.

Artists

Valeria Vilker Kuchment received her graduate and postgraduate degrees from the Tchaikovsky Conservatory in Moscow, where she was a student of Yuri Yankelevich; upon finishing her studies, she became a faculty member at the Tchaikovsky Con- servatory College. She was a prizewinner in a number of international violin and chamber music competitions, including the International Violin Competition in Prague and the International Piano Trio Competition in Munich, where her ensem- ble won first prize. She has appeared as a recitalist, soloist, and chamber musician throughout the former Soviet Union, Poland, Germany, Czechoslovakia, Italy, and

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 5 France. Since coming to the United States in 1975, Ms. Vilker Kuchment has per- formed throughout the country, winning critical acclaim for her appearances in Washington and Boston and at New York’s Lincoln Center. She has also been first violin for the Apple Hill Chamber Players and concertmaster of SinfoNova, the Harvard Chamber Orchestra, the Handel and Haydn Society, and the Boston Phil- harmonic. Ms. Vilker Kuchment joined the Boston Symphony Orchestra at the beginning of the 1986-87 season and has appeared as a soloist with the Boston Pops Orchestra. She is a faculty member at New England Conservatory, the Tanglewood Music Center, and the Boston University Tanglewood Institute. She has recorded for Melodiya, Sine Qua Non and Sonora Productions. She currently occupies the Stephanie Morris Marryott and Franklin J. Marryott Chair in the BSO’s first violin section. Adam Esbensen joined the Boston Symphony Orchestra in September 2008 after five years as a cellist with the Oregon Symphony. Mr. Esbensen began his studies at the Cleveland Institute of Music, where he studied with Stephen Geber, then went on to earn a master of music degree and performance award from the Mannes College of Music. During his two years in New York City he studied with Timothy Eddy and performed around the state as part of the Mozart and Chopin festivals. In 2001 Mr. Esbensen joined the cello section of the Louisville Orchestra, where he played for two years before moving back to his home state of Oregon. While living in Portland, he took an interest in new music as a member of the Fear No Music ensemble and at the Ernest Bloch Composer’s Symposium. He has spent summers at festivals in Taos, Vail, Spoleto (Italy), Bellingham, and San Luis Obispo. Mr. Esbensen's other teach- ers and influences include Hamilton Cheifetz, John Kadz, and Pamela Frame. With his BSO colleagues Blaise Déjardin, Mihail Jojatu, and Alexandre Lecarme, he is a founding member of the Boston Cello Quartet. Pianist Vytas Baksys is an active freelance collaborator performing in a variety of recitals, competitions, and other musical settings employing various styles and gen- res throughout North America, Europe, and Asia. Since 1989 he has been the faculty pianist of the Fellowship Conducting Program at Tanglewood. He is a frequent key- boardist with the Boston Symphony and Boston Pops orchestras, has performed on several occasions with the Boston Symphony Chamber Players, and works with such other area ensembles as the Boston Secession, Concord Chamber Music Society, and the Rivers School Conservatory. Of Lithuanian descent, Mr. Baksys is a graduate of the New England Conservatory of Music and State University of New York at Stony Brook. He has participated in recordings for RCA, CRI, Golden Crest, Sony Classical, Deutsche Grammophon, Warner Brothers, Nonesuch, Reference Recordings, and BSO Classics. Timothy Genis joined the Boston Symphony Orchestra in May 1993 as assistant tim- panist of the BSO and timpanist of the Boston Pops Orchestra. He became timpanist of the Boston Symphony Orchestra in 2004, occupying the Sylvia Shippen Wells Chair. Mr. Genis attended the Juilliard School and the Eastman School of Music.

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

6 From July 1991 until his BSO appointment, he was associate timpanist and assistant principal percussionist of the Honolulu Symphony. Previously he was principal tim- panist with the Philharmonia Virtuosi and the Radio City Music Hall Orchestra in New York and assistant principal percussionist of the Hong Kong Philharmonic for two years. A Tanglewood Music Center fellow in 1990, Mr. Genis also attended the Boston University Tanglewood Institute. Currently head of the percussion department at Boston University, he also runs the BUTI percussion program at Tanglewood and is an active clinician for the Zildjian Cymbal Company, Remo Drum Company, Pearl/Adams Drums, and Vic Firth, Inc. In the fall of 2003 he developed a line of timpani sticks that are currently being marketed by Vic Firth, Inc. Kyle Brightwell joined the Boston Symphony Orchestra at the start of the 2012-13 season; he occupies the Peter Andrew Lurie Chair in the BSO’s percussion section. Mr. Brightwell began his musical studies on piano and guitar at age four and began focusing on percussion studies at eleven. In addition to the BSO, he has performed with the U.S. Navy Band, U.S. Army Orchestra, Orquestra Sinfonica da Bahia (Brazil), Boston Philharmonic, and the New World Symphony, among others. Future and recent performances include those with Kansas City Symphony and the Hyogo Performing Arts Center Orchestra (Japan), as well as his solo debut with the Dubuque Symphony Orchestra performing James MacMillan’s Veni, Veni, Emmanuel. Summers have included fellowships at the Tanglewood Music Center, Pacific Music Festival, and National Orchestral Institute; while in high school he spent three summers at the Boston University Tanglewood Institute, where he now teaches. In addition to his performance career, Mr. Brightwell is dedicated to community outreach through music. While living in New York City, he was a faculty member at the Juilliard School’s Music Advancement Program (MAP) for underprivileged inner-city youth, and was also appointed a fellow of the Gluck Community Service Fellowship (GCSF), for which he performed concerts throughout New York in homeless shelters, psychiatric wards, AIDS centers, and numerous other venues in need of music. He is a graduate of the Juilliard School, where he studied with New York Philharmonic percussionist Daniel Druckman, and received his master’s degree in 2012 from Boston University, where he studied with BSO principal timpanist Timothy Genis. Percussionist Matthew McKay joined the Boston Symphony Orchestra at the begin- ning of the 2012-13 season. Prior to joining the BSO, he was a percussionist with the Oregon Symphony for two seasons. A native of Fairfax, Virginia, he began play- ing percussion at age ten, though his musical training began with violin at age four followed by piano at age seven. During high school he studied privately with former National Symphony Orchestra timpanist John Tafoya through the National Symphony Youth Fellowship program, and with Bill Richards, a retired member of the U.S. Army Band. He earned his bachelor’s degree from the New England Conservatory, where he studied with BSO percussionist J. William Hudgins. As an undergraduate, he won the annual percussion mock audition in both 2008 and 2009. He then con- tinued his studies with BSO timpanist Timothy Genis at Boston University, where he completed his master’s degree in 2011. Mr. Mackey has also performed with the Boston Philharmonic, the San Diego Symphony, and the Jacksonville Symphony. Summer engagements have included two Tanglewood Music Center fellowships, as well as fellowships at the Spoleto Music Festival, Schleswig-Holstein Musik Festival, and National Orchestral Institute. Also an avid chamber musician, he has performed and recorded Bartók’s Sonata for Two Pianos and Percussion in Jordan Hall, and played in the American premiere of Elliott Carter’s What Are Years with the Tangle- wood Music Center. He has also been a member of the Third Angle new music ensemble in Portland, Oregon.

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 7 8 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Friday, August 1, 8:30pm The Serge and Olga Koussevitzky Memorial Concert SPONSORED BY CRANWELL RESORT, SPA AND GOLF CLUB “UnderScore Friday” concert, including introductory comments from the stage by BSO violinist Bonnie Bewick.

MARCELO LEHNINGER conducting

TCHAIKOVSKY Serenade in C for Strings, Opus 48 Pezzo in forma di Sonatina: Andante non troppo— Allegro moderato Valse: Moderato, tempo di valse Elegia: Larghetto elegiac Finale, Tema Russo: Andante—Allegro con spirito

SHOSTAKOVICH Piano Concerto No. 1 in C minor, Opus 35 Allegretto—Allegro vivace—Allegretto—Allegro—Moderato Lento Moderato Allegro con brio JEAN-YVES THIBAUDET, piano THOMAS ROLFS, trumpet

{Intermission}

SCHUMANN Symphony No. 4 in D minor, Opus 120 Ziemlich langsam [Rather slow]—Lebhaft [Lively] Romanze. Ziemlich langsam Scherzo. Lebhaft; Trio Langsam—Lebhaft—Schneller [Faster]—Presto

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

TANGLEWOODWEEK 5 FRIDAYPROGRAM 9 NOTES ON THE PROGRAM

Pyotr Ilyich Tchaikovsky (1840-1893) Serenade in C for strings, Opus 48 First performance: October 30, 1881, St. Petersburg. First BSO performances: October 1888, Wilhelm Gericke cond. First Tanglewood performance: August 4, 1949 (Valse and Elegia only), Serge Koussevitzky cond.; August 2, 1953 (complete), Pierre Monteux cond. Most recent Tanglewood performance: July 10, 2005, Kurt Masur cond. Tchaikovsky spent most of the year 1880 in the country, part of the time installed at Simaki, a small house on one of the estates of his patroness, Nadezhda von Meck, where, as always, he carefully avoided personal contact with the woman whom he addressed as “Dearest Friend” in a long and intensely personal series of let- ters covering the years of her support. He was supposed to write a piece of music for the twenty-fifth anniversary of Tsar Alexander II’s accession to the throne, inasmuch as the government hoped to generate a little enthusiasm for the ruler, who had recently been the object of some assassination attempts. The original plan was to have a series of staged tableaux accompanied by music, each scene to be set by a different composer, chosen by lot. Tchaikovsky, to his chagrin, drew as his subject “Montenegrin villagers receiving news of Russia’s declaration of war on Turkey.” It is not surprising that he felt unable to do anything with such a topic, and his creative inertia was expressed in a variety of activities to help him avoid compos- ing: revising earlier works, proofreading scores, making fair copies of recently com- posed songs, and renewing his study of English in hopes of eventually being able to read his favorite English authors, Dickens, Thackeray, and Shakespeare. Finally, while living at Kamenka, the home of his sister and her family (and long one of Tchaikovsky’s favorite retreats), he began work on a composition for the Silver Jubilee Exposition, an overture dealing with Napoleon’s invasion of Russia in 1812. At the same time, and purely for his own satisfaction, he wrote a Serenade for string orchestra, a late nineteenth-century equivalent of the Classical divertimento. The Serenade was completed on November 4 and the 1812 Overture followed it two weeks later. Tchaikovsky summed up his own feelings about the autumn’s harvest of music in a blunt comparison: The Overture will be very loud, noisy, but I wrote it without any warm feelings of love and so it will probably be of no artistic worth. But the serenade, on the

10 contrary, I wrote from inner compulsion. This is a piece from the heart and so, I venture to say, it does not lack artistic worth. Both works have long been among the popular favorites of Tchaikovsky’s output— the 1812 Overture with all its glorious bombast, and the Serenade for Strings with its freshness and charm, its brilliant string writing, its graceful waltz of a character that Tchaikovsky made entirely his own, its richly expressive elegy, and its lively finale based on one of those Russian folk tunes that reiterates over and over a sim- ple melodic gesture, allowing the composer to deploy his substantial skills as an arranger to ring the changes on the obstinate little fragment of tune as it gets ever livelier. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Dmitri Shostakovich (1906-1975) Piano Concerto No. 1 in C minor, Opus 35 First performance: October 15, 1933, Leningrad, Fritz Stiedry cond., Dmitri Shostako- vich, soloist. First BSO performance: August 16, 1986, Tanglewood, Carl St. Clair cond. (replacing Gennady Rozhdestvensky), Viktoria Postnikova, piano soloist, Charles Schlueter, trumpet. Most recent Tanglewood performance: July 25, 1992, Robert Spano cond., Emanuel Ax, piano soloist, Charles Schlueter, trumpet. The tradition of the piano concerto in Russia is filled with grand romantic works of soaring lyricism and melting melodic warmth. Tchaikovsky and Rachmaninoff come most immediately to mind for works that are heard time and again in our concerts. Shostakovich’s First Piano Concerto is filled instead with wit and humor, with prankish nose-thumbing at the glorious sentimentality of the older tradition. Even the scoring is a surprising change: instead of the large romantic orches- tra with the full panoply of winds and brass, we have, in addition to the solo pianist, only a body of strings and one lone trumpet. It is, particularly, the trumpet that gives this score its special sound, adding a note of wry humor, a bite that eliminates any possible trace of the saccharine. The First Piano Concerto came at the end of a period of youthful high-jinks that had seen the creation of some distinctive ballet scores—The Age of Gold and Bolt —as well as the satirical Gogol opera The Nose, with all of which the piano concerto shares some of its saucy qualities. Satire was far from being the only characteristic of Shostakovich’s music during these early years. His astonishingly assured First Symphony, composed in 1925 at the age of nineteen, ranges over a sub- stantial emotional territory. Still, there was a general sense of new possibilities in the air in the late ’20s and very early ’30s. Artists enjoyed a great deal of freedom (in contrast to the situation only a few years later), and there was a certain amount of good-natured fun taken at the expense of the older romantic tradition. Among his many talents, Shostakovich was one of the supreme musical parodists, and his love of the musical raspberry is prominent in this concerto. Following a brief flourish for the piano, joined in a striking figure by the trumpet, the first movement begins with a rather sombre, marchlike C minor theme in the piano. A flowing series of themes follows, all strung together with wonderful natural- ness, and all destined to play a part in the movement. The expected modulation to a new key for the secondary theme is entirely traditional, moving from C minor to the relative major of E-flat, but this is merely to show Shostakovich the pleasure of a lit-

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 11 tle fun: the strings prepare for the new key with a romantic warmth that seems to pre-figure one of those lush tunes that Rachmaninoff would present at just this moment. Suddenly—as if tweaking Rachmaninoff by the nose—the tempo changes to Allegro vivace, and the piano is off with the opening march theme, now inverted and played with humorous, utterly unromantic flair in the piano over a rhythmic tat- too in the strings. The high spirits thus engendered remain undamped through the rest of the movement. The second movement, on the other hand, is the slightly twisted or half-remembered echo of a vanished waltz. Humorous digs at the waltz stereotype appear here and there, though they never really cross the boundary to satire. The middle section brings a single strong climax, with admittedly satirical overtones, before withdrawing again into a hushed calm, a long-breathed plangent figure in the muted trumpet, and the soloist’s waltz close, now not parody, but sustaining a breathtakingly simple idea, and a delicacy that stands out against the vigor of the outer movements. The third movement is essentially a cadenza running on directly from the second, with slight orchestral underpinning, rather Bachian in its two-part counterpoint (a reminder that Shostakovich also composed twenty-four preludes for the piano!). A dark, strong episode in the strings brings back the ornate solo writing. Before we are ready for anything so drastic, a sudden rush up the scales in the piano turns out to be the surprising beginning of the final Allegro con brio, a witty galop redolent of the theater or the ballet scores that Shostakovich had been writing not long before.

STEVEN LEDBETTER

12 Robert Schumann (1810-1856) Symphony No. 4 in D minor, Opus 120 First performance of 1841 original version (as Schumann’s “Symphony No. 2”): December 6, 1841, Gewandhaus Orchestra, Leipzig, Ferdinand David cond. First performance of 1851 revised version (Symphony No. 4, Opus 120): March 3, 1853, Düsseldorf Municipal Orchestra, Robert Schumann cond. First BSO performance of revised version: November 11, 1882, Georg Henschel cond.; of original version: March 12, 1892, Arthur Nikisch cond. First Tanglewood performance of revised version: August 13, 1939, Serge Koussevitzky cond.; of original version: August 7, 1988, Jésus López-Cobos cond. Most recent Tangle- wood performance of revised version: August 4, 2012, Christoph von Dohnányi cond.; of original version: August 14, 1999, Ilan Volkov cond. It is well known that Robert Schumann, in the first flush of happiness at his impend- ing marriage to Clara Wieck, after many obstacles thrown in their path by the girl’s father, embarked on his “year of song,” 1840, during which he produced nearly 150 songs. The same singlemindedness appeared the following year when, with the enthusiastic encouragement of his new bride, he set out wholeheartedly on the new field of orchestral composition, which he had already expressed his desire to do upon discovering the manuscript of the Great C major symphony of Schubert and hearing the rehearsal for the first performance, in 1839 (long after Schubert’s death). Schumann actually did write his first symphony early in 1841: his symphony in B-flat (Spring), which was performed at the end of March and proved an instant success. Thus encouraged, he composed the first movement of what later grew into the piano concerto, as well as a biological sport that was in essence a symphony sans slow movement (which he first called “Suite,” then “Symphonette,” and later published as Overture, Scherzo, and Finale), and a second symphony, in D minor. This received its first performance in December with disastrous results. Schumann withdrew the score and held it, unperformed and unpublished, for ten years. In the meantime he wrote what we now know as his Second and Third symphonies. Thus, when he returned to the D minor symphony in 1851 to undertake a complete revision, he called it the Symphony No. 4. Actually, in its first form, Schumann had hesitated to call the work a symphony at all. The close-knit interlocking of thematic material from movement to movement, and the fact that the movements were intended to be played one after the other without

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TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 13 pause (it was common in those days for the audience to applaud after each move- ment), made him hesitate to link the work with the mighty nine of Beethoven, so he first called it a “Symphonic fantasy,” possibly with the intention of recalling Schubert’s Wanderer Fantasy, which likewise rings the changes on a few musical ideas throughout several movements. By the time Schumann decided to rework the symphony for performance, in 1851, he was determined to express himself as a German composer, so he first of all changed all the tempo designations from their original Italian to German equiva- lents. At that time he was living in Düsseldorf, where he conducted the orchestra that was to give the first performance of the revised piece. Appallingly ineffective as a conductor, he had learned not to trust his players with exposed solos, so in his revision he rewrote the orchestration totally. So thoroughly did he do this, in fact, that there is only one brief passage in the entire symphony in which a wind instru- ment (the flute) plays without the support of some other instrument. The result, though its performance finally established the success of the symphony, has raised questions for modern professional orchestras, since changes to the instruments

14 result in a thicker-sounding instrumentation than what Schumann himself would have heard. Many conductors—Gustav Mahler among them—have simply made changes to Schumann’s score, cutting out instruments they deemed to be superfluous. Some play the final score as written, adjusting instrumental balances as necessary. And some conductors, beginning with Johannes Brahms, frankly prefer the earlier version of 1841. Brahms had that score published in 1891—against the desire of his close friend Clara Schumann, who could not bring herself to believe that Robert’s revision was not a complete improvement. (In March 1892, Arthur Nikisch per- formed the interesting experiment of leading the two different versions of Schu- mann’s symphony on two successive weeks at Boston Symphony Orchestra concerts.) The decision to get back to the earlier score is not entirely an unmixed blessing, however much one may prefer the 1841 orchestration, since in 1851 Schumann made some structural improvements in the music as well. These may be slight, but they are quite significant in tying the work together. Most important of these is the transition from the slow introduction to the fast main section of the first movement, and a similar transition from the third movement to the fourth. Today the general view is to accept Schumann’s two scores as they stand, choosing either one or the other. In the present performance, Marcelo Lehninger uses the revised score of 1851. All of this is preliminary to the important fact that Schumann’s D minor symphony is one of the most ingenious and successful experiments in formal continuity pro- duced in the nineteenth century. The principal musical ideas—three of them, all told—recur throughout the entire work, creating a sense of unity rare in a mid- nineteenth century symphony. At the same time, Schumann’s fresh and imaginative reworkings of these ideas never pall, though we hear them many times in the course of the four movements. The first of these themes, the somber opening idea first heard in strings and bassoons at the very beginning, fills most of the slow introduc- tion until the violins introduce a new figure that gradually speeds up and suddenly turns into the main theme of the fast section. This rhythmic and melodic gesture dominates the movement, continuing into the development section, where it accom- panies a martial fanfare figure that constitutes the third of the recurring ideas. It is followed by the welcome relief of a fresh lyrical melody introduced, unexpectedly, in the development section, when it was beginning to look as if the faster rhythmic fig- ure would overwhelm everything. The slow movement begins with the oboe and cello singing a lyrical ballad, but no sooner is it stated than the introductory theme of the first movement finds an oppor- tunity to return. It soon develops into a lush, major-key passage enriched by a lavish ornamentation on the solo violin, after which the oboe melody recurs. The stormy and energetic scherzo is built primarily of the opening theme (turned upside down) and the martial figure from the first movement, alternating with a sec- tion of languishing and drooping melodies that brings back the violin solo of the Romanze, now sung by the entire violin section. The movement is about to end, it seems, when string tremolos and a version of the first movement’s main theme lead directly, without break, into the finale, whose rhythmic theme is compounded of yet another version of the martial figure and the first-movement theme. The richness of this finale and the power of its conclusion make it one of the most fully satisfying climaxes of any large-scale Schumann work. Thus, despite the years of concern and work it gave him, and despite the problems it presents us in choosing between two versions of the score, the Schumann Fourth remains one of the great touchstones of Romantic sensibility.

STEVEN LEDBETTER

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 15 Artists

Marcelo Lehninger Born in Brazil, Marcelo Lehninger was appointed assistant conductor of the Boston Symphony Orchestra by James Levine, occupying the BSO’s Anna E. Finnerty Chair. After three successful seasons as the BSO’s assistant conductor, he renewed his BSO contract for two more seasons, now as the orchestra’s associate conductor. Currently music director of the New West Symphony Orchestra in Los Angeles, Mr. Lehninger made his BSO debut in October 2010 and in March 2011 substi- tuted for Mr. Levine to conduct the first performances of Harrison Birtwistle’s BSO-commissioned Violin Concerto with soloist Christian Tetzlaff in Boston and at Carnegie Hall. In January 2012 with the BSO, substituting for Andris Nelsons, he led the U.S. premiere of Mark-Anthony Turnage’s trumpet concerto From the Wreckage with Håkan Hardenberger. At Tanglewood in 2012 he made his debut with the Tanglewood Music Center Orchestra (which he most recently conducted this past Monday) and also led his first Tanglewood concert with the BSO. In September he returns to the Symphony Hall podium to open the BSO’s 2014-15 subscription season with music of Mozart, Villa-Lobos, and Beethoven. In February 2014, he success- fully substituted for Pierre Boulez, leading the Chicago Symphony Orchestra in a pro- gram of Stravinsky and Ravel. As a guest conductor in the United States, he has also led the Baltimore, Chautauqua, Fairfax, Florida, Indianapolis, Hartford, Houston, Jacksonville, Louisville, National, New Jersey, Omaha, and Seattle symphony orchestras. In Canada he has conducted the Calgary Philharmonic, Hamilton Philharmonic, and Toronto Symphony orchestras. In 2013 he recorded music of American composer Christopher Culpo for Radio France in Paris with the Orchestre National de France, and led the Simón Bolívar Symphony Orchestra in Caracas, Venezuela, and the

16 Deutsches Symphonie-Orchester at the Philharmonie in Berlin. Since winning the First Eleazar de Carvalho National Conducting Competition in Rio de Janeiro in 2001, Marcelo Lehninger has led all of the top orchestras in Brazil and been a regular guest conductor in Argentina. An alumnus of the National Conducting Institute, he made his debut with the National Symphony Orchestra in 2007. Chosen by Kurt Masur, in 2008 he was awarded the first Felix Mendelssohn-Bartholdy Scholarship sponsored by the American Friends of the Mendelssohn Foundation in 2008, spending one month as Mr. Masur’s assistant with the Orchestre National de France, the Gewandhaus Orchestra in Leipzig, and the New York Philharmonic. Before dedicating his career to conducting, Mr. Lehninger studied violin and piano. He holds a master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting under Harold Farberman and composition with Laurence Wallach. In Brazil he stud- ied with Roberto Tibiriçá, and he has also participated in master classes with Kurt Masur, Leonard Slatkin, Marin Alsop, Moche Atzmon, and Andreas Weiss. A citizen of Brazil and Germany, Marcelo Goulart Lehninger is the son of pianist Sônia Goulart and violinist Erich Lehninger. He, his wife Laura, and their daughter Sofia divide their time between Boston and Los Angeles. For more information, please visit marcelolehninger.com.

Jean-Yves Thibaudet One of today’s most sought-after soloists, Jean-Yves Thibaudet has performed around the world for more than thirty years and recorded more than fifty albums. The 2013-14 season included orchestral appearances, chamber music and recitals, and reper- toire spanning the early 19th century to the present day. Highlights included Gershwin’s Piano Concerto in F with the Seoul Philharmonic, with the Western Australia Symphony Orchestra in Perth, and with the Sydney Symphony; Bern- stein’s Second Symphony, The Age of Anxiety, with the Guangzhou Symphony Orchestra, the Shanghai Symphony Orchestra, and the China Philharmonic in Beijing; Liszt’s Second Piano Concerto with NDR Hamburg; duo recitals with mezzo-soprano Angelika Kirchschlager in Spain and at London’s Wigmore Hall; Ravel’s Concerto in G on a seven-city U.S. tour with the Bahia Orchestra; Beethoven’s Emperor Concerto with the Hawaii Symphony and with Gustavo Dudamel and the Los Angeles Philharmonic; and James MacMillan’s Third Piano Concerto—which he premiered in 2011—with both the Detroit Symphony Orchestra and the Toronto Symphony. Mr. Thibaudet performed two all-Debussy recitals in his native France, in Bordeaux and Nancy, and Saint-Saëns’s Piano Concerto No. 5, Egyptian, with the Orchestre National de Lyon and the Spanish National Orchestra. With the San Francisco Symphony and the Toronto Symphony Orchestra, he was a soloist in Shostakovich’s Piano Concerto No. 1, a work he also performed on a spring tour with WDR Cologne, along with Gershwin’s Piano Concerto in F. He ended the season performing the Ravel G major concerto with the Chamber Orchestra of Europe at London’s Barbican Centre, in celebration of Bernard Haitink’s 85th birth- day, and the Saint-Saëns Fifth with the Orchestre de Paris and the Bremen Philhar- monic. Recent recordings from his award-winning discography include “Gershwin,” featuring “big jazz band orchestrations” of Rhapsody in Blue, Variations on ‘I Got Rhythm,’ and the Concerto in F live with the Baltimore Symphony and music director Marin Alsop; a Grammy-nominated recording of Saint-Saëns’s piano concertos 2 and 5 with Charles Dutoit and the Orchestre de la Suisse Romande; and the album “Aria—Opera Without Words,” featuring transcriptions (some of them his own) of arias by Saint- Saëns, Strauss, Gluck, Korngold, Bellini, Johann Strauss II, Grainger, and Puccini. He was the soloist on Dario Marianelli’s Oscar- and Golden Globe-award-winning soundtrack of Atonement and his Oscar-nominated score for Pride and Prejudice, and on

TANGLEWOODWEEK 5 ARTISTS 17

Alexandre Desplat’s score for the 2012 film Extremely Loud & Incredibly Close. Among his other recordings are “Satie: The Complete Solo Piano Music,” and the jazz albums “Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington” and “Conversations with Bill Evans,” his tribute to two jazz legends. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. He won the Premier Prix du Conservatoire at fifteen and, three years later, the Young Concert Artists Auditions in New York City. In 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his longstanding involve- ment with the festival. In 2007 he was awarded the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 he was inducted into the Hollywood Bowl Hall of Fame. Previously a Chevalier dans l’Ordre des Arts et des Lettres, he was awarded the title of Officier by the French Ministry of Culture in 2012. Known for his style and elegance, Mr. Thibaudet wears a concert wardrobe designed by Vivienne Westwood. Jean-Yves Thibaudet made his BSO and Tanglewood debuts in August 2002 and has appeared at Tanglewood annually since then, most recently for Liszt’s Totentanz in July 2013. He has also appeared in recital in Ozawa Hall—in 2004 for music of Debussy, Liszt, and Liszt transcriptions of Wagner, and in 2011 for two recitals encompassing the complete solo piano music of Ravel.

Thomas Rolfs Thomas Rolfs is principal trumpet of the Boston Symphony Orchestra, occupying the Roger Louis Voisin Chair; he is also principal trumpet of the Boston Pops Orchestra, occupying the Roberta and Stephen R. Weiner Chair. He joined the BSO trumpet section in 1991, serving first as fourth trumpet and later as associate principal trumpet. Mr. Rolfs was a Tanglewood Music Center Fellow in 1978. He earned a bachelor of music degree from the University of Minnesota and a master of music degree from Northwestern University, subsequently returning to Min- nesota in 1986 for a five-year tenure with the Saint Paul Chamber Orchestra. Mr. Rolfs has been a soloist with the Boston Symphony, the Boston Pops, and the Saint Paul Chamber Orchestra. At John Williams’s request, he was a featured soloist on Mr. Williams’s Grammy-nominated soundtrack to the Academy Award- winning film Saving Private Ryan. His varied musical background includes per- formances with the Minnesota Orchestra, the Vienna Philharmonic, Empire Brass, the Saint Petersburg Philharmonic, Lyric Opera of Chicago, and the American Ballet Orchestra, as well as teaching at New England Conservatory, the Tanglewood Music Center, and Boston University. On July 4, 2001, Mr. Rolfs was soloist in John Williams’s Summon the Heroes for the nationally televised Boston Pops concert on the Esplanade. He has been soloist with the BSO in Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra on two occasions, with Seiji Ozawa conducting in October 2001, and Charles Dutoit conducting in October 2012. Last summer at Tangle- wood, he was the trumpet soloist in Bach’s Brandenburg Concerto No. 2 under the direction of Pinchas Zukerman.

TANGLEWOODWEEK 5 ARTISTS 19 2014 Tanglewood

Saturday, August 2, 8:30pm THE GEORGE AND ROBERTA BERRY SUPPORTING ORGANIZATION CONCERT

THE BOSTON POPS AT TANGLEWOOD SPONSORED BY VISIT SARASOTA COUNTY FLORIDA

BOSTON POPS ORCHESTRA JOHN WILLIAMS, conductor BUTI YOUNG ARTISTS CHORUS BOSTON CHILDREN’S CHORUS

JOHN WILLIAMS’ FILM NIGHT

WILLIAMS “Sound the Bells!”

A Salute to David Lean: ADDINSELL Prelude from “Blythe Spirit” JARRE Excerpts from “A Passage to India” JARRE/adapted by Excerpts from “Lawrence of Arabia” Edward Karam

WILLIAMS Two Selections from “Memoirs of a Geisha” Sayuri’s Theme Brush on Silk MARTHA BABCOCK, cello

WILLIAMS Call of the Champions BUTI YOUNG ARTISTS CHORUS Hymn to the Fallen from “Saving Private Ryan” BUTI YOUNG ARTISTS CHORUS

Dry Your Tears, Afrika from “Amistad” BUTI YOUNG ARTISTS CHORUS and BOSTON CHILDREN’S CHORUS

{Intermission}

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

20

SCHWARTZ/DIETZ, That’s Entertainment! arr. Williams

WILLIAMS Three Selections from “Indiana Jones” Scherzo for Motorcycle and Orchestra Marion’s Theme The Adventures of Mutt

A Celebration of Dance in the Movies: GARDEL, Tango from “Scent of a Woman” arr. Williams TAMARA SMIRNOVA, violin GERSHWIN Excerpts from “An American in Paris” HENDERSON, The Varsity Drag arr. Williams

WILLIAMS Throne Room and Finale from “Star Wars”

The Boston Symphony Orchestra gratefully acknowledges the following companies in connection with this evening’s film montages: 20th Century Fox NBC Sports Columbia Pictures Lionsgate Pictures Columbia TriStar Home Video Paramount Pictures The Criterion Collection Republic Pictures Walt Disney Pictures Sony Pictures Dreamworks Pictures Sony Pictures Home Entertainment HBO Films Touchstone Pictures MGM Universal Pictures Miramax Films Warner Bros. Pictures

“A Passage to India,” “Lawrence of Arabia,” and “Call of the Champions” montages: Produced by Susan Dangel and Dick Bartlett

“Hymn to the Fallen,” “Tango,” “American in Paris,” and “The Varsity Drag” montages: Video Producer: Laura Gibson Editor: Scott Draper Assistant Editor: Adam Witt Stu Rosner

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 21 Film Night at Tanglewood The George and Roberta Berry Supporting Organization Concert Saturday, August 2, 2014 The Pops performance on Saturday evening is supported by a generous gift from Overseer Emeritus George Berry and his wife, Roberta, through The George and Roberta Berry Supporting Organization. The Berrys are among the most devoted supporters of the Boston Pops. Growing up in Ohio, George was first exposed to orchestral music through listening to recordings of Arthur Fiedler conducting the Pops. George has now been attending Pops performances for more than forty years, and, after wooing her with a tour of Tanglewood, he has had Roberta by his side for nearly thirty of them. The Berrys brought their children to Pops concerts when Star Wars, E. T., and Indiana Jones were blockbuster hits, and they now help continue the Pops’ tradition by naming the Film Night concert with John Williams each summer. As Great Benefactors, George and Roberta contribute their time and resources to many parts of the Boston Symphony Orchestra. George and Roberta generously support the Annual Funds and Opening Nights at Symphony, Tanglewood, and the Pops. They are members of the Koussevitzky Society at the Virtuoso level, the Higginson Society at the Patron level, and the Fiedler Society at the Backstage level, and they are also members of the Walter Piston Society. In addition to their annual support, George and Roberta have generously contributed to the endowment in support of the Artistic Initiative and the Tanglewood Music Center Opera Program. They established the George and Roberta Berry Fund for Tanglewood and the George and Roberta Berry Fellowship at the Tanglewood Music Center. George was elected to the Board of Overseers in 1998 and became an Overseer Emeritus in 2010. George and Roberta chaired Opening Night at Pops in 2002, and they have served on many committees for Opening Night at Pops, Symphony, and Tangle- wood, as well as the Tanglewood Wine Auction. George and Roberta have been BSO subscribers for twenty-seven years, and have attended Tanglewood and Pops performances since the 1980s.

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

22 Artists

John Williams In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage. He has served as music director and laureate conductor of one of the country’s treas- ured musical institutions, the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras. He remains one of our nation’s most distinguished and contributive musical voices. Mr. Williams has composed the music and served as music director for more than 100 films. His nearly forty-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Lincoln, Saving Private Ryan, War Horse, The Adventures of Tintin, Amistad, Munich, Hook, Catch Me If You Can, Minority Report, A.I. Artificial Intelligence, and Empire of the Sun. Mr. Williams also composed the scores for all six Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, Nixon, The Patriot, Angela’s Ashes, Seven Years in Tibet, The Witches of Eastwick, Rosewood, Sleepers, Sabrina, Presumed Innocent, The Cowboys, The Reivers, and Goodbye, Mr. Chips, among many others. His most recent film project was The Book Thief. He has worked with such leg- endary directors as Alfred Hitchcock, William Wyler, and Robert Altman. He adapted the score for the film version of Fiddler on the Roof, for which he composed original violin cadenzas for renowned virtuoso Isaac Stern. He has appeared on recordings as pianist and conductor with Itzhak Perlman, Joshua Bell, Jessye Norman, and others. Mr. Williams has received five Academy Awards and a total of forty-nine Oscar nomina- tions, making him the Academy’s most-nominated living person. He also has received

TANGLEWOODWEEK 5 ARTISTS 23 seven British Academy Awards (BAFTA), twenty-one Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. A composition student of Mario Castelnuovo-Tedesco, Mr. Williams also studied piano at the Juilliard School with Madame Rosina Lhevinne. He began his career in the film industry working with such accomplished composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre, and Playhouse 90. His more recent contributions to television music include themes for NBC Nightly News (“The Mission”), the theme for what has become network television’s longest-running series, NBC’s Meet the Press, and the prestigious PBS arts showcase Great Performances. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos for flute, oboe, violin, clarinet, viola, and tuba. His cello concerto was commissioned by the Boston Symphony Orchestra and premiered by Yo-Yo Ma at Tanglewood in 1994. Mr. Williams also has filled commissions by several of the world’s leading orchestras, including a bassoon concerto for the New York Philharmonic, a trumpet concerto for the Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. Seven for Luck, a seven-piece song cycle for soprano and orchestra based on texts by former U.S. Poet Laureate Rita Dove, was premiered by the Boston Symphony at Tanglewood in 1998. And at the opening concert of their 2009-10 season, James Levine led the Boston Symphony in the premiere of Mr. Williams’s On Willows and Birches, a new concerto for harp and orchestra. In January 1980, Mr. Williams was named nineteenth conductor of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Laureate Conductor, which he assumed following his retirement in December 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. One of America’s best-known and most distinctive artistic voices, Mr. Williams has com- posed music for many important cultural and commemorative events, including Liberty Fanfare for the rededication of the Statue of Liberty in 1986, American Journey for the “America’s Millennium” concert in Washington, D.C., on New Year’s Eve 1999, and Soundings for the gala opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has contributed musical themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. Mr. Williams holds honorary degrees from twenty-one American universities, including the Juilliard School, Boston College, Northeastern University, Tufts University, Boston University, the New England Conservatory of Music, the University of Massachusetts at Boston, the Eastman School of Music, the Oberlin Conservatory of Music, and the University of Southern California. He is a recipient of the 2009 National Medal of Arts, the highest award given to artists by the United States Government. In 2003 he received the Olympic Order, the IOC’s highest honor, for his contributions to the Olympic movement. He served as the Grand Marshal of the 2004 Rose Parade in Pasadena, and was a recipient of the Kennedy Center Honor in December 2004. In January 2009, Mr. Williams composed and arranged Air and Simple Gifts especially for the inaugural ceremony of President Barack Obama.

Boston University Tanglewood Institute Young Artist Vocal Program Chorus Dr. Ann Howard Jones, Conductor In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training pro- gram for high school musicians as a counterpart to the BSO’s Tanglewood Music

24 Center. Envisioned as an educational outreach initiative for the University, this pro- gram has since continued to provide young advanced musicians with unprecedented opportunity to participate in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to performances of the BSO and the Tangle- wood Music Center. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Conductor of the BUTI Young Artist Vocal Program Chorus—an auditioned ensemble of high school singers who rehearse and perform at Tanglewood during the summer— Ann Howard Jones is a distinguished clinician, adjudicator, teacher, and conductor. Dr. Jones is Professor of Music and Director of Choral Activities at Boston University, where she conducts the Symphonic and Chamber Choruses, supervises conducting students in the Concert Chorus and Women’s Chorale, teaches graduate choral con- ducting, and administers the M.M. and D.M.A. programs in Choral Conducting. A native of Iowa, she holds B.M., M.M., and D.M.A. degrees from the University of Iowa. She has taught at the Universities of Iowa, Georgia, and Illinois, as well as at Wittenberg and Emory Universities.

Boston University Tanglewood Institute Young Artist Vocal Program Chorus Dr. Ann Howard Jones, Conductor Steven Seigart, Assistant Conductor and Pianist (In the following list, * denotes faculty section leader.)

Sopranos

Angelique D’Alessandro • McKinny Danger-James • Skyler Dykes • Andrea Gadzinski • Phoebe Glowacki • Nicole Goldstein • Mary Katherine Henry • Marie Herrington • Nicole Kelly • Amanda Krew • Evangelia Leontis * • Sophia Leung-Wolf • Francesca Lionetta • Natalee Lowe • Page Michels • Shannon Murray • Francesca Napolitano • Kathryn Rische • Caroline Sambuco • Margalit Shetreat-Klein • Emily Sierra • Jaylyn Simmons • Madeleine Snow • Oznur Tuluoglu Altos

Tayman Baker • Gabrielle Barkidjija • Danielle Barnett • Isabella Bruzzese • Carlyle Cooney • Allison Farrall • Margaret Grabar Sage • Sarah Grubbe • Ellie Jarret Shattles * • Jacob Lindberg • Kathleen Moriarty • Renee Piper • Liesl Quigley • Kathleen Reeve • Emily Sheets • Elena Villalon • Leah Weitzner • Whitney Wells • Rebecca Yakos Tenors

Nathaniel Bear • Wing Chin • Nolan Crawford • Aaron Crouch • Emouri Devoe • John Slack * • Andrew Lumbert • Samuel Dylan Rosner • William Stockton • Napoleon Sylvester • DaShawn Williams • Giovanni Xu Basses/Baritones

Aidan Brooks • Zachary Driscoll • Jacob Feldman • Auguste Horner • Colin Levin * • Luke Minton • James Nydam • Victor Paz • Mats Roolvink • Charles Sciascia • Alex Walejewsky • Patrick Wilhelm

TANGLEWOODWEEK 5 ARTISTS 25 Boston Children’s Chorus Anthony Trecek-King, Artistic Director The Boston Children’s Chorus is a creative social integration organization that unites area children ages 7-18 across differences of race, religion, and socioeconomic status to discover the power of singing and transcend social barriers in a celebration of shared humanity and love of music. Our focus is not on one specific community, but the energy of the intersection of all our communities. We bridge Greater Boston’s many diverse groups and foster a sense of belonging and inclusion. Through intensive choral training and once-in-a-lifetime performing experiences locally, nationally and around the world, BCC enhances the education and social development of youth as future leaders and global citizens in the 21st century. To learn more, please visit bostonchildrenschorus.org. Anthony Trecek-King began his tenure as artistic director with the Boston Children’s Chorus (BCC) in September 2006. Since that time, BCC has obtained a reputation as an ensemble of high distinction. Before joining BCC, Mr. Trecek-King was a professor of music at the University of Nebraska at Omaha and the artistic director of the Nebraska Choral Arts Society, the state’s oldest and largest community choral organi- zation. He earned a B.A. in cello performance from the University of Nebraska at Omaha and an M.A. in orchestral conducting from Florida State University. Currently he is completing his D.M.A. in conducting at Boston University.

Boston Children’s Chorus

Audrey Balan • Sophia Bereaud • Hanifah Bostic • Madeleine Carbonneau • Jocelyn Chin • Chloe DeMello • Ben Duffy-Howard • Chloe Duval • Feyinwa Egbunike • Micaiah Jones • Savannah Koplow • Grace Kromm • Emma Kromm • Gabrielle Mathews • Kyra Meriser • Samantha Morrison • Abigail Nordan • Zoe Papastoitsis • Ariela Perez • Marisa Rafal • Julia Reinach • Donya Shavarini • Jesse Simmons • Shantel Teixeira • Jeffrey Toussaint • Demetra Vernet • Nafisa Wara • Victoria Wu

26 Boston Pops Orchestra KEITH LOCKHART Cellos Horns Julian and Eunice Cohen Martha Babcock° Richard Sebring Boston Pops Conductor Principal Principal endowed in perpetuity Helene and Norman L. Rachel Childers JOHN WILLIAMS Cahners chair, Michael Winter Laureate Conductor endowed in perpetuity Jason Snider Sato Knudsen Jonathan Menkis Mihail Jojatu First Violins Trumpets Tamara Smirnova Adam Esbensen* Jonathan Miller* Thomas Rolfs° Concertmaster Principal Beranek chair, Mickey Katz* Blaise Déjardin* Roberta and Stephen R. Weiner endowed in perpetuity chair, endowed in perpetuity Elita Kang Owen Young* Alexandre Lecarme* Thomas Siders Assistant Concertmaster Michael Martin Edward and Bertha C. Rose Basses Benjamin Wright chair, endowed in perpetuity Lawrence Wolfe Bruce Hall§ Julianne Lee Principal Trombones Acting Assistant McGrath Family chair, Concertmaster endowed in perpetuity Toby Oft Bo Youp Hwang Benjamin Levy Stephen Lange Eunice and Julian Cohen Dennis Roy Amanda Stewart§ chair, endowed in perpetuity John Stovall* Bass Trombone Ikuko Mizuno Thomas Van Dyck* James Markey Yuncong Zhang* Todd Seeber* Tatiana Dimitriades* Tuba Flutes Glen Cherry* Mike Roylance Si-Jing Huang* Elizabeth Ostling Principal Wendy Putnam* Principal Jennie Shames* Mr. and Mrs. William F. Timpani Xin Ding* Connell chair, Timothy Genis endowed in perpetuity Percussion Second Violins Clint Foreman Sheila Fiekowsky J. William Hudgins Nicole Monahan Piccolo Daniel Bauch Jason Horowitz* Cynthia Meyers Kyle Brightwell Matthew McKay Ronan Lefkowitz Oboes Nancy Bracken* James Gwin James Cooke* Keisuke Wakao Drums Vyacheslav Uritsky* Mark McEwen Hans Morrison§ Victor Romanul* English Horn Samuel Solomon§ Catherine French* Robert Sheena Harp Ala Jojatu* Aza Raykhtsaum* Clarinets Jessica Zhou Bonnie Bewick* Thomas Martin Keyboard Principal Bob Winter Violas Michael Wayne Cathy Basrak Librarians Bass Clarinet Principal D. Wilson Ochoa Robert Barnes Craig Nordstrom Principal Michael Zaretsky Saxophones William Shisler Mark Ludwig* Michael Monaghan John Perkel Rachel Fagerburg* Ron Whitaker Rebecca Gitter* Gregory Floor Jonathan Chu* Marc Phaneuf Personnel Managers Daniel Getz* Bassoons Lynn G. Larsen Wesley Collins* Richard Svoboda Bruce M. Creditor Suzanne Nelsen Assistant Personnel Manager * Participating in a system Contrabassoon Stage Manager of rotated seating Gregg Henegar John Demick § Substituting or extra player ° On leave

TANGLEWOODWEEK 5 ARTISTS 27

2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, August 3, 2:30pm SPONSORED BY EMC CORPORATION

JUANJO MENA conducting

We are extremely grateful that Juanjo Mena was available to conduct this concert in place of Rafael Frühbeck de Burgos, a beloved presence at Tanglewood and Symphony Hall who was originally to have led this afternoon’s performance, and whose passing in June left the Boston Symphony Orchestra deeply saddened. The program remains unchanged.

HAYDN Symphony No. 6 in D, “Morning” Adagio—Allegro Adagio—Andante—Adagio Menuet; Trio Finale: Allegro

MOZART Violin Concerto No. 4 in D, K.218 Allegro Andante cantabile Rondeau: Andante grazioso—Allegro ma non troppo AUGUSTIN HADELICH, violin

{Intermission}

BEETHOVEN Symphony No. 2 in D, Opus 36 Adagio molto—Allegro con brio Larghetto Scherzo: Allegro Allegro molto

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

TANGLEWOODWEEK 5 SUNDAYPROGRAM 29 NOTES ON THE PROGRAM

Joseph Haydn (1732-1809) Symphony No. 6 in D, “Le Matin” (“Morning”) First performance (not precisely dated): presumably 1761 (the year of composition) at Eszterháza under Haydn’s direction. First BSO performances: October 1984, Seiji Ozawa, cond.; Ozawa also led the only other BSO performances of the piece, at Symphony Hall in February 1995. This is the first Tanglewood performance by the BSO. The group of three Haydn symphonies conventionally numbered 6, 7, and 8—num- bers only vaguely connected with their chronology—are intimately involved with the beginning of Haydn’s three decades of service to the music-loving princes of the Esterházy family. His appointment followed a decade of relative instability. Until he was eighteen, in 1750, Haydn had served as a boy soprano in the Imperial chapel choir in Vienna, afterwards living in a garret in Vienna’s Michaelerhaus (“St. Michael’s house”), where he suffered desperately from poverty but made some useful connections. Most of Haydn’s work from this period is lost, and most of what survives is undatable, but it is quite likely he composed his first string quartets and his first symphony by the end of the 1750s. In 1759 he evidently became Kapellmeister for his first important patron, Count Karl Joseph Franz Morzin. Financial ruin forced Morzin to dismiss his orchestra, but he took pains to assure a good position for Haydn, placing him with the immensely rich Prince Paul Anton Esterházy. He became the prince’s assistant Kapellmeister in 1761 and was to remain legally tied to the family into the 1790s, and emotionally even after. Apparently the prince himself proposed that Haydn compose a series of four sym- phonies on Morning, Noon, Evening, and Night. Haydn did in fact write three symphonies subtitled “Le Matin,” “Le Midi,” and “Le Soir,” but seemingly never com- posed “La Nuit.” The second symphony of the group (No. 7, Le Midi) survives in a manuscript dated 1761, and it’s certainly reasonable to assume Haydn composed the others at the same time. They may well be the first orchestral works that he wrote in his new position. If the Symphony No. 6 marked Haydn’s Eszterháza debut, we can appreciate how brilliantly Haydn introduced himself. He had an uncanny knack of writing music that was alive and interesting on its own terms, that suited the musical taste of his patron, and showed off the special talents of the players as well. Haydn had clearly observed that the music library of the Esterházy establishment was filled with Italian solo concerti and concerti grossi. Composers such as Vivaldi, Tartini, and Albinoni were among the prince’s favorites. As homage to this tradition, Haydn planned his symphony with a “concertino” made up of solo violin and cello, rather in the style of the concerto grosso, and also gave virtually every part of the orchestra a moment alone (including a rare solo for double bass in the third movement’s Trio!). Haydn’s concertmaster, Luigi Tomasini, had many opportunities to display his gifts to splen- did advantage. The first movement begins with a rare feature for the time: a slow introduction. This depicts the sunrise, and also serves effectively as a purely musical foil to the main theme, a wisp of triadic 3/4 melody in the flute continued in the oboe. The stormy secondary theme exhibits one of Haydn’s favorite devices, the use of strongly opposed dynamics: forte immediately dropping back to piano after the first note in each measure. Flute and oboe lead off on the development, though a hushed chromatic passage in the strings brings in a darker mood. Just at the start of the recapitulation,

30 even the horns—rarely soloists at this period—have a moment of glory. The main body of the second movement consists of an Andante in a slow-movement sonata form (featuring the concertante violin and cello) surrounded by a short Adagio. The Adagio that begins and ends the movement is based on a simple scale figure played in long notes, against which are set contrapuntal elaborations of a somewhat Baroque character. The wind instruments drop out of this movement entirely. The Menuet movement is a stately dance with solo passages for the flute and even for the entire wind band without strings. The Trio is quite astonishing: against pizzi- cato strings a solo bassoon and solo double bass have an elaborate duet—Haydn’s only solo for the double bass in all his symphonies. The finale is filled with energy derived from the basic sixteenth-note scale that fills so much of the movement, beginning with the flute in the very first measure. Haydn retained the concertante violin and cello lines in this movement, but gave everyone else in the orchestra something interesting to do, too. How the prince’s players must have welcomed that man who promised to write more of this kind of music for months, or even years, to come!

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

Wolfgang Amadè Mozart (1756-1791) Violin Concerto No. 4 in D, K.218 First performance: Probably soon after the concerto was completed in October 1775, Salzburg. First BSO performance: April 1912, Max Fiedler cond., Sylvain Noack, soloist. First Tanglewood performance: July 17, 1960, Charles Munch cond., Joseph Silverstein, soloist. Most recent Tanglewood performance: August 13, 2005, Sir Andrew Davis cond., Gil Shaham, soloist. Wolfgang’s father Leopold was himself a musician of some note, a violinist and com- poser whose great contribution was a violin method, Versuch einer gründlichen Violinschule, published in the very year of Wolfgang’s birth and for a long time the standard work of its type. Needless to say, when Wolfgang’s musical talent became apparent, Leopold made sure to teach him his own instrument as well as the piano, and for a time he served as concertmaster in Salzburg. But Wolfgang’s devotion to the violin apparently dwindled after he moved permanently to Vienna and left his father’s sphere of influence. Certainly in his maturity he preferred the keyboard as the principal vehicle of virtuosity, and it was for the keyboard that he composed his most profound concertos, whether for himself, his students, or other virtuosos. His violin concertos are early works, all but one composed in 1775 (the first seems to have been writ- ten a year or two earlier). All five of the violin concertos of 1775—when Mozart was only nineteen—date from a period when he was still consolidating his concerto style and before he had devel- oped the range and dramatic power of his mature piano concertos. They still resem- ble the Baroque concerto, with its ritornello for the whole orchestra recurring like the pillars of a bridge to anchor the arching spans of the solo sections. Mozart gradually developed ways of using the Baroque concerto’s tutti-solo opposition in a unique fusion with the dramatic tonal tensions of sonata form, but the real breakthrough in

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 31 his new concerto treatment did not come until the composition of the E-flat piano concerto, K.271, in January 1777. Thus all of the five violin concertos precede the “mature” Mozart concerto, which is not at all the same thing as saying that they are “immature” pieces. Even within the space of the nine months during which they were composed, Mozart’s concerto technique underwent a substantial development, and the last three of the five concertos have long been a regular part of the repertory. Wolfgang and Leopold both seem to have been especially fond of K.218. They referred to it as the “Strasbourg concerto,” apparently because one of the tunes in the last movement was similar to a dance known as the “Ballo strasburghese.” Wolfgang reported to his father that he had played it most successfully in Augsburg on October 19, 1777; “it went like oil,” he wrote four days later. Earlier in the same month Leopold had written to Wolfgang of the Salzburg concertmaster Antonio Brunetti’s performance of the concerto. It had gone well generally, “but in the two Allegros he played wrong notes occasionally and once nearly came to grief in a cadenza.” Leopold’s report was, no doubt, partly informational, but perhaps he meant it also to spur Wolfgang to greater heights in his violin playing. Compared to the earlier concertos of 1775, K.218 is much expanded in scale and in the development of concerto technique: the first appearance of the soloist following the orchestral ritornello is now more of an event, a dramatic moment like the appear- ance of a singer in an opera aria. Mozart’s skill at projecting the solo part—using extremes of range, greater virtuosity, and modulatory exploration—brings this con- certo and the one that followed it close to Mozart’s mature concerto style of the following decade; the growth in his control of the medium in just a matter of months is nothing short of extraordinary. The Andante cantabile is a lyrical instrumental aria in slow-movement sonata form for the soloist, who occasionally engages in delicious dialogue with the oboes. The

32 final Rondeau (the French spelling is significant, suggesting a refined grace and stateliness that was swept away entirely in some of the whirlwind rondos—with Italian spelling—in the later concertos) alternates an Andante grazioso in 2/4 time with Allegro ma non troppo in 6/8. Each time the Andante appears, with its measured lit- tle tune, it seems to get stuck, just before the cadence, and only a burst of the 6/8 Allegro can bring the musical sentence to conclusion. The extended middle section of the movement, in gavotte rhythm, continues the “French” feeling. When the main Andante theme returns twice more, Mozart provides two new “solutions” to the problem of getting unstuck and brings the concerto to a close in whimsical good humor with a fadeout to silence.

STEVEN LEDBETTER

Ludwig van Beethoven (1770-1827) Symphony No. 2 in D, Opus 36 First performance: April 5, 1803, Theater-an-der-Wien, Vienna. First BSO performance: November 1881, Georg Henschel cond. First Tanglewood performance: August 10, 1939, Serge Koussevitzky cond. Most recent Tanglewood performance: August 23, 2008, Christoph von Dohnányi cond. Beethoven’s Second Symphony in D major, finished in 1802 when he was thirty-one, has long been a model of creative detachment. This most brash, rollicking, youthful, and nearly carefree of his symphonies was written in some of the darkest months of his life—when he could no longer deny that his hearing was going, that his health would never be good again, that pain was likely to be his closest companion. For good reason as he worked on the D major sym- phony, Beethoven was near suicide. Somehow, out of that anguish came an explosion of high spirits on the page, and soon after that an explosion of imagination. It would not be the last time in his life to see such a connection of misery, joy, and historic creative growth. In terms of his career, in 1802 Beethoven was as hot as hot gets. When Beethoven was twenty, Joseph Haydn had prophesied that as composer and pianist, this youth was going to be one of the most famous musicians in Europe. With his Second Symphony, Beethoven was on the verge of fulfilling that prophecy. In the next year he started the revolutionary Third Symphony, the Eroica; its pre- miere brought Western music to a new era. As a pianist in those days, Beethoven was the rage of Vienna, above all because of the fire and imagination of his improvisations. He was becoming the essential musi- cian for the Romantic sensibility; if his own sensibilities were formed in an earlier generation, Beethoven wrote the main musical accompaniment to the burgeoning Romantic movement. At the same time, for all the unbridled imagination of his playing and all the capriciousness of his personality, he was an infinitely painstaking artist. At thirty-one he was still feeling his way, but a central pattern of his life was already set: the expressive and the technical always worked together, neither sacri- ficed to the other. In his time everybody said his music was wild, demonic, a revela- tion, a force of nature, a threat to youth—those sorts of things. Only a few saw the implacable control, the command of form, the impeccable skill in writing for every instrument and medium. In his physical being Beethoven was a mess, in his practical dealings with the world more or less the same, in his musical voice unprecedentedly personal and passionate. As a musician he was the careful, consummate professional. In the works of his twenties, notably the first set of string quartets, we hear Beetho- ven patiently grappling with media and genres that the previous generation had per-

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 33 fected. His task in those years was to hone his craft, assimilate the lessons of Haydn and Mozart, and at the same time to escape them and find his own voice. With the genre of the symphony it was thus only to a degree. Our idea of a symphony as the king of instrumental forms is what Beethoven made of the symphony, starting with the Eroica. Certainly late Haydn and Mozart pointed the way to symphonies of larger scope, weight, and ambition. But for Beethoven this genre seemed to have been less fraught than the Classical ones of, say, opera and string quartet. He found his voice first on his own instrument, the piano, where his improvisations could lead directly to work on the page. But already in the first two symphonies he is more aggressive, more willing to take chances than in other early orchestral and chamber works. In its time, the First Symphony was a stunner from the opening chord: it begins with a dissonance, and in the wrong key. So if in his first two symphonies Beethoven did not quite know yet where he was headed, he seemed to understand that this field was his to conquer and claim. It is no accident that the Eroica, originally dedicated to Napoleon, rose from a military metaphor. At least in his youth, Beethoven saw his position in music as he saw that of

34 Napoleon in the world: not just a conqueror, but a remaker of things for the better. The first two symphonies reveal another pattern that carried into Beethoven’s full maturity—a serious, intense symphony followed by a lighter one: the revolutionary Eroica, the graceful Fourth; the stormy Fifth, the gentle Sixth, and so on. The First Symphony is not always sure of itself, but it is a serious and searching piece. Then came the Second, with its jokes and games, its skitters and yawps. Beethoven tends to establish a mood at the beginning of a work and to follow it through, with variation and contrast, relatively clearly to the end. The keynotes of the Second are good cheer and eruptive wit. The music constantly jumps from soft to loud, the loud usually being fortissimo, a volume indication Mozart and Haydn rarely used at all. (They used forte. Merely loud was loud enough for them, but not for Beethoven.) The first movement begins with a fortissimo stroke, a soft answer, another fortissimo. The tone of the slow introduction is hardly violent despite its contrasts, though— rather warm, expansive, and lighthearted. The Allegro con brio that breaks out in due course is a familiar world, recalling, say, the overture to a Mozart comic opera, one with lots of intricate scheming in the plot, the music full of kicks in the pants and faux pathos. Don Giovanni and Leporello linger in the wings here. Yet nobody would mistake this piece for its models in Mozart and Haydn. There is a driving nervous energy unprecedented in the literature to that time, and the orchestral sound is likewise bigger, more sonorous than any before. The first theme is darting and vigorous, the second hardly contrasting—something of a dancing march. There is a long, intense, fully Beethovenian development section prophetic of many to come, and a big coda as well. In both, the expected dramatic gestures are more in the line of jokey melodrama. In this symphony the spirits stay high: the momentary clouds of the coda are pierced by sunshine, and the movement ends on joyous ges- tures sounding more like the ending of a whole symphony. In its gentle songfulness the second movement recalls the delicate, perfumed ironies of the Classical galante atmosphere. Beethoven’s rich scoring, though, takes most of the preciousness out of that tone. The movement is summery, relaxed, one of the sheerly loveliest he ever wrote—predictive of the Ninth Symphony’s slow movement, if without the ethereal mystery of the late work. For now, Beethoven sticks with gemütlichkeit, that untranslatable German word indicating something on the order of cozy, sanguine, wine-enhanced good cheer among friends. The darting scherzo is in love with its own quirkiness, the nimble banter between the sections of the orchestra, and naturally the eruptive jumps from soft to loud. (History used to claim that Beethoven invented the symphonic scherzo—the word means “joke”—in this symphony. As usual, it was really Haydn’s idea.) A folksy Trio is at least a bit more flowing; we have to stop jumping around sometime, but obviously in this case, as little as possible. Our rondo finale starts out with an absurd whooping fillip, which dissolves into skit- tering comedy. As it turns out, that little two-note fillip is actually the main motive of the movement; it keeps coming back, getting funnier every time. There’s a flow- ing theme for contrast, but again, only enough relaxation to keep the excitement fresh. The Beethovenian gift for generating relentless energy has arrived on the scene. The coda, of course, is a romp. So Beethoven composed in the summer of 1802 in the beautiful old village of Heil- igenstadt outside Vienna. And as he shaped this marvelous and masterful foolery he was writing down his despair in a document known as the Heiligenstadt Testament.

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 35 “I was on the brink of taking my life,” he wrote. Then he realized the one thing that might make the suffering and loneliness worth it: “Art alone stopped me. It seemed inconceivable that I should leave this world without having produced all that I felt I must. And so I go on leading this miserable life.” He was not indulging in self-pity or dramatics here; he was only writing the truth. He kept that piece of paper with him for the rest of his life, to remind himself of what his life was all about. Out of that despair and that resolution rose one of the most powerful and innovative floods of work in the history of human creativity: the Second Period, his full maturity, which from the Eroica history has also been called the Heroic period. When that had run its remarkable course, Beethoven fell into years of illness and despondency— and once again pulled himself out of it to create something new in the world, the sublime late works that include the Ninth Symphony’s Hymn to Joy. Our greatest heroes tend to be characterized by a union of brilliance, courage, the right historical moment, and suffering. Between the Heiligenstadt Testament and the Second and Third symphonies we see that archetype in its tragic and admirable essence.

JAN SWAFFORD Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at Tufts University and has recently completed a biography of Beethoven for Houghton Mifflin.

Guest Artists

Juanjo Mena Chief Conductor of the BBC Philharmonic in Manchester, United Kingdom, Juanjo Mena is one of Spain’s most distinguished international conductors. Following recent concerts with the Los Angeles Philharmonic and the symphony orchestras of Houston, St. Louis, Cincinnati, and Toronto, Mr. Mena returns to North America during the 2014-15 season for re-engagements with the Los Angeles Philhar- monic, Boston Symphony Orchestra, Philadelphia Orchestra, and Pittsburgh Symphony Orchestra, as well as his debuts with the New York Philharmonic, Cleveland Orchestra, and Montreal Symphony Orchestra. European highlights include his debut with the London Philharmonic Orchestra, as well as concerts with the Danish National Symphony Orchestra, Orchestre National de France, Bergen Philharmonic Orchestra, Orquesta Nacional de España, and the Oslo Philharmonic Orchestra. A guest at numerous international festivals, Mr. Mena has appeared at the Stars of White Nights Festival in St. Petersburg, Russia, and at the Hollywood Bowl, Grant Park (Chicago), Tanglewood, and La Folle Journée (Nantes). He recently led the BBC Philharmonic on tours of Europe and Spain, including per- formances in Cologne, Frankfurt, Munich, Vienna, and Madrid, and conducts that orchestra every year at the BBC Proms. Throughout Europe, Juanjo Mena has appeared with the Dresden Philharmonic, Munich Radio Orchestra, Orchestre National de France, Orchestre Philharmonique de Radio France, Oslo Philharmonic, Danish Radio Symphony, Orchestra Filarmonica della Scala, Milan, and the Netherlands Radio Philharmonic, as well as with all the major orchestras in Spain. On the opera stage, he has led productions of The Flying Dutchman, Salome, Elektra, Ariadne auf Naxos, Bluebeard’s Castle, and Erwartung, as well as Eugene Onegin in Genoa, The Marriage of Figaro in Lausanne, and Billy Budd in Bilbao. He has made several recordings with the BBC Philharmonic, including a disc of works by Manuel de Falla, which was a BBC Music

36 Magazine Recording of the Month; music of Gabriel Pierné, which was a Gramophone Editor’s Choice; and recent releases of music by Montsalvatge, Weber, and Turina, which have garnered excellent reviews. He has also recorded a collection of Basque symphonic music with the Bilbao Symphony Orchestra for Naxos, and a critically acclaimed recording of Messiaen’s Turangalîla Symphony for Hyperion with the Bergen Philharmonic Orchestra. Juanjo Mena’s only previous Tanglewood performance was also his BSO debut in July 2010, leading music of Berg, Strauss, and Mahler. His sub- scription series debut came in October 2011 and his most recent appearances with the orchestra were at Symphony Hall in 2012 to lead the American premiere of Kaija Saariaho’s Circle Map and music of Britten and Dvoˇrák.

Augustin Hadelich Featured on the cover of the May 2014 issue of Strings Magazine, violinist Augustin Hadelich premiered David Lang’s 35-minute solo violin work, mystery sonatas, at Carnegie’s Zankel Hall in April 2014 to great acclaim. The previous week at the Kennedy Center in Washington, D.C., he gave the acclaimed premiere of an original multimedia recital with guitarist Pablo Villegas and pianist Joyce Yang based on André Previn’s Tango Song and Dance for violin and piano. Highlights of his 2014-15 season include debuts with the Minnesota Orchestra, Danish National Symphony, and the London Philharmonic, as well as re-engagements with the New York Philharmonic and the symphonies of Baltimore, Houston, Indianapolis, Liverpool, Saint Louis, and Seattle. Other projects include serving as artist-in-residence with the Netherlands Philharmonic, a Canadian tour with the Toronto Symphony, and his debut recital at London’s Wigmore Hall. He has also performed with the Saint Paul and Los Angeles chamber orchestras, the Boston Symphony, Cleveland Orchestra, Philadelphia Orchestra, and the Los Angeles Phil- harmonic, as well as other orchestras and at festivals throughout North America. He made his American debut at Chautauqua in 2001. Recent appearances include those with major orchestras in the UK, throughout continental Europe, in Mexico, and in Japan. He has worked with many of the world’s eminent conductors, and in recital has performed at Carnegie Hall, the Frick Collection (New York), Kennedy Center, Toyko’s Kioi Hall, the Louvre, and the chamber music societies of Detroit, Philadelphia, and Vancouver. His recordings, all on the AVIE label, include the violin concertos of Jean Sibelius and Thomas Adès (Concentric Paths) with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra, released to great acclaim in March 2014. Previous albums include “Flying Solo” (masterworks for solo violin), “Echoes of Paris” (French and Russian repertoire), and “Histoire du Tango” (violin-guitar works with Pablo Villegas). His recent recording of the Mendelssohn Violin Concerto and Bartók’s Violin Concerto No. 2 with the Norwegian Radio Orchestra under Miguel Harth-Bedoya is scheduled for release in spring 2015. The 2006 gold medalist of the International Violin Competition of Indianapolis, he is the recipient of an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the UK (2011), and Lincoln Center’s Martin E. Segal Award (2012). Born in Italy in 1984, the son of German parents, Augustin Hadelich holds an artist diploma from the Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago. He made his BSO and Tanglewood debuts in the Barber concerto in July 2012; his only other appearances with the orchestra were for the opening concerts of the 2013 season.

TANGLEWOODWEEK 5 GUESTARTISTS 37 Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

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

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

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

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

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Jeffrey Garber • Dr Lynne B Harrison • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

38 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Gigi Douglas and David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Gerard O’Halloran • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 5 SOCIETYGIVINGATTANGLEWOOD 39 Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterfield • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Mr. Chaim and Dr. Shulamit Katzman • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased Stu Rosner

40

August at Tanglewood

Friday, August 1, 6pm (Prelude Concert) Friday, August 8, 6pm (Prelude Concert) MEMBERS OF THE BSO MEMBERS OF THE BSO Music of Schnittke and Shostakovich Music of Szymanowski and Debussy

Friday, August 1, 8:30pm Friday, August 8, 8:30pm The Serge and Olga Koussevitzky BSO—LEONARD SLATKIN, conductor Memorial Concert GIL SHAHAM violin BSO—MARCELO LEHNINGER, conductor JOHN FERRILLO, oboe JEAN-YVES THIBAUDET, piano BOLCOM Circus Overture (world premiere; THOMAS ROLFS, trumpet (Shostakovich) BSO commission) TCHAIKOVSKY Serenade for Strings BARLOW The Winter’s Past, for oboe and SHOSTAKOVICH Piano Concerto No. 1 strings SCHUMANN Symphony No. 4 BARBER Violin Concerto ELGAR Enigma Variations Saturday, August 2, 10:30am Celebrating Leonard Slatkin’s 70th birthday Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 3 Saturday, August 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 2, 8:30pm BSO program of Sunday, August 10 John Williams’ Film Night BOSTON POPS ORCHESTRA Saturday, August 9, 8:30pm JOHN WILLIAMS, conductor BSO—STÉPHANE DENÈVE, conductor LEONIDAS KAVAKOS, violin Sunday, August 3, 2:30pm DEBUSSY Prelude to The Afternoon of a Faun BSO—JUANJO MENA, conductor SZYMANOWSKI Violin Concerto No. 2 AUGUSTIN HADELICH, violin TCHAIKOVSKY Symphony No. 4 HAYDN Symphony No. 6, Morning MOZART Violin Concerto No. 4 in D, K.218 Sunday, August 10, 2:30pm BEETHOVEN Symphony No. 2 BSO—DAVID ZINMAN, conductor YO-YO MA, cello Tuesday, August 5, 8:30pm (Gala Concert) Tanglewood on Parade ALL-TCHAIKOVSKY PROGRAM (Grounds open at 2pm for music and Polonaise from Eugene Onegin; Andante activities throughout the afternoon) cantabile for cello and strings; Variations on a Rococo Theme, for cello and orchestra; BSO, BOSTON POPS ORCHESTRA, and Symphony No. 6, Pathétique TMC ORCHESTRA STÉPHANE DENÈVE, KEITH LOCKHART, Monday, August 11, 8pm ANDRIS POGA, LEONARD SLATKIN, and TMC Orchestra—STÉPHANE DENÈVE and JOHN WILLIAMS, conductors TMC Fellow DANIEL COHEN, conductors Music of Shostakovich, Gershwin, Glinka, TMC Vocal Fellows Brubeck, Williams, and Tchaikovsky All-Berlioz program Fireworks to follow the concert Wednesday, August 13, 8pm Wednesday, August 6, 8pm JEREMY DENK, piano THE DEUTSCHE KAMMERPHIL- Music of Ives and J.S. Bach HARMONIE BREMEN PAAVO JÄRVI, conductor Thursday, August 14, 7:30pm LARS VOGT, piano PHILHARMONIA BAROQUE ORCHESTRA All-Brahms program NICHOLAS MCGEGAN, conductor AMANDA FORSYTHE, AMY FRESTON, Thursday, August 7, 8pm DOMINIQUE LABELLE, CÉLINE RICCI, EMANUEL AX, piano ROBIN BLAZE, DREW MINTER, and JEFFREY LEONIDAS KAVAKOS, violin FIELDS, vocal soloists YO-YO MA, cello HANDEL Teseo All-Brahms program Extended concert; sung in Italian with English supertitles

Friday, August 15, 6pm (Prelude Concert) Friday, August 22, 8:30pm MEMBERS OF THE BSO BOSTON POPS ORCHESTRA NIKOLAI LUGANSKY, piano KEITH LOCKHART, conductor Music of Handel-Halvorsen and Franck “Oz with Orchestra” The Boston Pops Orchestra plays Harold Arlen’s Friday, August 15, 8:30pm musical score live as a newly re-mastered print BSO—STÉPHANE DENÈVE, conductor of the classic 1939 MGM film The Wizard of EMANUEL AX, piano Oz is screened with the original vocals and ELENA MANISTINA, mezzo-soprano dialogue intact. TANGLEWOOD FESTIVAL CHORUS Saturday, August 23, 10:30am BEETHOVEN Piano Concerto No. 5, Emperor Open Rehearsal (Pre-Rehearsal Talk, 9:30am) PROKOFIEV Alexander Nevsky BSO program of Sunday, August 24

Saturday, August 16, 10:30am Saturday, August 23, 2:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Family Concert featuring the BSO program of Saturday, August 16 BOSTON CELLO QUARTET

Saturday, August 16, 8:30pm Saturday, August 23, 8:30pm BSO—BRAMWELL TOVEY, conductor BSO—CHARLES DUTOIT, conductor Vocal soloists including NICHOLAS PHAN, KIRILL GERSTEIN, piano ANNA CHRISTY, KATHRYN LEEMHUIS, FREDERICA VON STADE, BEAU GIBSON, BERLIOZ Roman Carnival Overture PAUL LAROSA, and RICHARD SUART RACHMANINOFF Rhapsody on a Theme of Paganini BERNSTEIN Candide RESPIGHI Roman Trilogy: Roman Festivals; Concert performance sung in English Fountains of Rome; Pines of Rome Sunday, August 17, 2:30pm Sunday, August 24, 2:30pm The Leonard Bernstein Memorial Concert BSO—CHARLES DUTOIT, conductor TMC ORCHESTRA—CHARLES DUTOIT, YEFIM BRONFMAN, piano conductor NICOLE CABELL, MEREDITH HANSEN, NIKOLAI LUGANSKY, piano TAMARA MUMFORD, NOAH STEWART, STRAVINSKY Scherzo fantastique ALEX RICHARDSON, and JOHN RELYEA, RACHMANINOFF Piano Concerto No. 3 vocal soloists STRAVINSKY The Firebird (complete) TANGLEWOOD FESTIVAL CHORUS

Sunday, August 17, 8pm ALL-BEETHOVEN PROGRAM Choral Fantasy; Symphony No. 9 “THE LAST SOUTHERN GENTLEMEN” with ELLIS MARSALIS, piano, and his son, Sunday, August 24, 8pm DELFEAYO MARSALIS, trombone, perform- MARIA SCHNEIDER ORCHESTRA ing standards and original compositions from their album of the same name Thursday, August 28, 8pm Monday, August 18, 7pm WAIT WAIT…DON’T TELL ME! THE BEACH BOYS Friday, August 29, 7pm Friday, August 22, 6pm (Prelude Concert) TRAIN TANGLEWOOD FESTIVAL CHORUS Saturday, August 30, 7pm JOHN OLIVER, conductor JOSH GROBAN with the Music of Shostakovich and Tavener BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART, conductor MEMBERS OF THE TANGLEWOOD FESTIVAL CHORUS

Sunday, August 31, 2:30pm TONY BENNETT with special guest ANTONIA BENNETT

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge  Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm  Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm  the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm  Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm  Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm  Saturday, August 2, 6pm  Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm  Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm  Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm  Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute con- tinues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, com- posers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. 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 • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

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

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

Business Office

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

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and 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 Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

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 • Anne Gregory, Assistant Manager of Education and Community Engagement • 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 • Alana Forbes, 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/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

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 Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • 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

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

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

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

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

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

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

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

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

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

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a cen- tury and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note  denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates  • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV  Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group  • L.A. Communications • Pilson Communications, Inc.  • R L Associates  Architecture/Design/Engineering edm - architecture | engineering | management  • Foresight Land Services, Inc.  • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery  • Schantz Galleries Contemporary Glass  • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus  • BIENER AUDI • Haddad Toyota - Subaru – Hyundai  Aviation Lyon Aviation, Inc.  Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc.  • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc.  • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders  • Great River Construction Co. Inc.  • LB Corporation  • Luczynski Brothers Building • J.H. Maxymillian, Inc.  • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations  Catering International Polo Club Catering  • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc.  Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP®  • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James  • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P.  • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii  • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc.  • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC  • Toole Insurance Agency, Inc.  Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA. LEFFERT J.D. RET. • Norman Mednick, Esq.  • The Law Office of Zick Rubin • Lester M. Shulklapper  • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn  • APPLE TREE INN • Applegate Inn  • Berkshire Days Inn  • Berkshire Fairfield Inn & Suites  • Birchwood Inn  • BLANTYRE • the Briarcliff Motel  • Brook Farm Inn  • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox  • The Cornell Inn  • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel – Berkshires  • Devonfield Inn  • Eastover Estate and Retreat  • An English Hideaway Inn  •• The Garden Gables Inn  • Gateways Inn & Restaurant  • Hampton Inn & Suites  • Inn at Green River  • The Inn at Stockbridge  • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn  • Seven Hills Inn  • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp.  • Barry L. Beyer, Packaging Consultant  • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc.  Medical 510 Medical Walk-In  • J. Mark Albertson, D.M.D. • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service  • Lewis R. Dan, M.D.  • Eye Associates of Bucks County  • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, LCSW • Dr. Charles Mandel OD PC • Dr. Joseph Markoff  • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare  • Dr. Robert and Esther Rosenthal  • Royal Health Care Services of NY  • Chelly Sterman Associates • Suburban Internal Medicine  • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage  • Security Self Storage  Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate  • Berkshire Mountain Club at Catamount • Brause Realty, Inc.  • Cohen + White Associates  • Robert Gal L.L.C. • Barbara K. Greenfeld  • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate  • Wheeler & Taylor Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar  • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia  • Chez Nous • Church Street Café  • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co.  • Flavours of Malaysia • Frankie’s Ristorante  • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café  • Rouge Restaurant Retail: Clothing Arcadian Shop  • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags  • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café  • Guido’s Fresh Marketplace  • The Meat Market & Fire Roasted Catering  Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits  • Spirited  Salon SEVEN salon.spa  • Shear Design  Security Alarms of Berkshire County • Global Security, LLC Services 2Filter.com • CLASSICAL TENTS AND PARTY GOODS • Edward Acker, Photographer  • Aladco Linen Services  • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company  • Pignatelli Electric  • Michael Renzi Painting Co.  Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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 • Chiles Foundation • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

One Million

Alli and Bill Achtmeyer • Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • 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 • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • 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 McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • 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 • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall