Boston Symphony Orchestra Summer 2015

summer 2015

boston symphony orchestra andris nelsons music director

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

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

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

Overseers Emeriti

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

† Deceased

Established 1974 Berkshire Record Outlet

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

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

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

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

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

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

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

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

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

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

The Tanglewood Music Center 75th Anniversary Archival Exhibits are made possible by a generous gift from the Claudia and Steven Perles Family Foundation.

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

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

Tanglewood Information

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

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2015

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

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

Andris Nelsons

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

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

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

Table of Contents

Friday, August 14, 6pm (Prelude Concert) 2 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Music of Bach, Barber, Brahms, and Copland

Friday, August 14, 8:30pm 11 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; CHRISTIAN TETZLAFF, violin Music of Mendelssohn and Mahler

Saturday, August 15, 8:30pm 19 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; KRISTINE OPOLAIS, soprano Music of Barber, Boito, Puccini, Verdi, and Strauss

Sunday, August 16, 2:30pm 30 BOSTON SYMPHONY ORCHESTRA TANGLEWOOD MUSIC CENTER ORCHESTRA ASHER FISCH conducting; JULIANNA DI GIACOMO, RENÉE TATUM, PAUL GROVES, and JOHN RELYEA, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Music of Copland (TMCO) and Beethoven (BSO)

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 14, are bass-baritone John Relyea and BSO Artistic Administrator Anthony Fogg.

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

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

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

TANGLEWOODWEEK 7 TABLEOFCONTENTS 1 2015 Tanglewood

Prelude Concert Friday, August 14, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE BERNARD AND ELAINE ROBERTS CONCERT

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with MARTHA BABCOCK, cello; TODD SEEBER, double bass; and JOHN FINNEY, organ (in Bach and Brahms, Opus 30) TIMOTHY GENIS, timpani (in Barber, Opus 15) FRANK CORLISS, piano, and MARTIN AMLIN, piano (in Copland)

BACH “Singet dem Herrn ein neues Lied,” BWV 225 Chorus: Singet dem Herrn ein neues Lied Aria (Chorus I): Gott, nimm dich ferner unter an!/ Chorale (Chorus II): Wie sich ein Vat’r erbarmet Chorus: Lobet den Herrn in seinen Traten

BARBER Twelfth Night, Opus 42, No. 1 To be Sung on the Water, Opus 42, No. 2

BRAHMS “Drei Gesänge,” Opus 42 Abendständchen Vineta Darthulas Grabesgesang

BARBER A Stopwatch and an Ordnance Map, Opus 15

BRAHMS “Geistliches Lied,” Opus 30

COPLAND Two Choruses from “The Tender Land” The Promise of Living Stomp Your Foot

John Oliver would like to dedicate this, his final concert, to his parents, who consistently made all things seem possible.

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

2 2015 Tanglewood

Prelude Concert Friday, August 14, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE BERNARD AND ELAINE ROBERTS CONCERT

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor

Texts and Translations

J.S. BACH, “Singet dem Herrn ein neues Lied,” BWV 225

I. Singet dem Herrn ein neues Lied; Sing to the Lord a new song; die Gemeine der Heiligen sollen ihn and his praise in the congregation of loben. saints. Israel freue sich des, der ihn gemacht Let Israel rejoice in him that hath hat. made him. Die Kinder Zion sei’n fröhlich Let the children of Zion be joyful in über ihrem König. their king. Sie sollen loben seinen Namen Let them praise his name in the dance; im Reihen; mit Pauken und Harfen sollen sie ihm let them sing praises unto him with the spielen. timbrel and harp. PSALM 149: 1-3

Please turn the page quietly. Stu Rosner

SEIJIOZAWAHALL TEXTSANDTRANSLATIONS 1 II. Aria (Chorus I) Gott, nimm dich ferner unser an, God, continue to care for us, denn ohne dich ist nichts getan for without thee all our striving mit allen unsern Sachen. comes to nothing. Drum sei du unser Schirm und Licht, Be then our shield and light, und trügt uns unsre Hoffnung nicht, and if our hope does not deceive us, so wirst du’s ferner machen. thou shalt continue to be so. Wohl dem, der sich nur steif und fest Happy is he who, without wavering, auf dich und deine Huld verlässt. puts his trust in thee and thy bounty. Chorale (Chorus II) Wie sich ein Vater erbarmet As a father is merciful über seine junge Kindelein, to his little children, so tut der Herr uns allen, so is the Lord to us all, so wir ihn kindlich fürchten rein. as long as we are obedient and pure. Er kennt das arme Gemächte, He knows our frailty, Gott weiss, wir sind nur Staub, God knows we are but dust, gleichwie das Gras vom Rechen, as the grass and ﬂower ein Blum und fallend Laub. and foliage falling under the rake. Der Wind nur drüber wehet, Let but the wind breathe over it so ist es nicht mehr da, and it is gone. also der Mensch vergehet, Thus man passes away, sein End das ist ihm nah. his end is at hand.

III. Lobet den Herrn in seinen Taten, Praise the Lord for his mighty acts, lobet ihn in seiner grossen Herrlichkeit! praise him according to his excellent greatness. Alles, was Odem hat, lobe den Herrn! Let everything that hath breath praise the Lord! Alleluja! Alleluia! PSALM 150: 2, 6 Stu Rosner

2 SAMUEL BARBER, Two Choral Songs, Opus 42 Twelfth Night No night could be darker than this night, no cold so cold, as the blood snaps like a wire and the heart’s sap stills, and the year seems defeated. O never again, it seems, can green things run, or sky birds fly, or the grass exhale its humming breath, powdered with pimpernels from this dark lung of winter. No night could be darker than this night. Yet here are lessons from the final mile Of pilgrim kings; the mile still left when all have reached their tether’s end; That mile where the Child lies hid. For see, beneath the hand, the earth already warms and glows, for men with shepherd’s eyes there are signs in the dark, the turning stars, the lamb’s returning time. For see, for see, Out of this utter death he’s born again, his birth our Saviour; from terror’s equinox he climbs and grows, Drawing his finger’s light across our blood, the sun of heaven, and the son of God. No night could be darker than this night. LAURIE LEE

To be sung on the water Beautiful, my delight, Pass, as we pass the wave, Pass, as the mottled night Leaves what it cannot save, Scattering dark and bright. Beautiful, pass and be Less than the guiltless shade To which our vows were said— Less than the sound of the oar To which our vows where made, Less than the sound of its blade Dipping the stream once more. LOUISE BOGAN

SEIJIOZAWAHALL TEXTSANDTRANSLATIONS 3 BRAHMS, “Drei Gesänge,” Opus 42 Abendständchen Evening Serenade Hör, es klagt die Flöte wieder, Hark! The ﬂute mourns again, und die kühlen Brunnen rauschen, and the cool springs rush along; golden wehn die Töne nieder, the tone blow, golden, once more, stille, stille laß uns lauschen! hush! Hush! Let us listen. Holdes Bitten, mild Verlangen, Sweet pleas, mild yearning, wie es süß zum Herzen spricht! how sweetly they speak to the heart! durch die Nacht, die mich umfangen, Through the night that surrounds me blickt zu mir der Töne Licht. shines the light of the tones. CLEMENS BRENTANO

Vineta Vineta Aus des Meeres tiefem, tiefem Grunde From deep, deep seabed klingen Abendglocken, dumpf und matt, evening bells, muffled and faint, arise, Uns zu geben wunderbare Kunde to give us wondrous tidings von der schönen alten Wunderstadt. of the beautiful, old wondrous city. In der Fluten Schoß hinabgesunken, Sunken into the bosom of the flood, blieben unten ihre Trümmer stehn, its remnants remain down there, Ihre Zinnen lassen goldne Funken its battlements allow golden gleams widerscheinend auf dem Spiegel sehn. to be seen reflected in the mirror. Und der Schiffer, der den And the seaman, who once saw Zauberschimmer einmal sah im hellen Abendrot, the magic glow in the bright evening light, nach derselben Stelle schifft er immer, continually sails his ship to the same place, ob auch rings, umher die Klippe droht. even though, all around, the reef threatens. Aus des Herzens tiefem, tiefem Grunde From the deep, deep bed of the heart, klingt es mir wie Glocken, dumpf und I seem to hear bells, muffled and faint. matt. Ach, sie geben wunderbare Kunde Ah, they give forth wondrous tidings von der Liebe, die geliebt es hat. of the love that it has loved. Eine schöne Welt ist da versunken, A beautiful world is sunk there, ihre Trümmer blieben unten stehn, its remnants remain down there, lassen sich als goldne Himmelsfunken appear like golden heavenly sparks oft im Spiegel meiner Träume sehn. often in the mirror of my memory. Und dann möcht ich tauchen in die And then I’d like to dive into the Tiefen, depths, mich versenken in den Wunderschein, to sink deep into that miraculous glow und mir ist, also ob mich Engel riefen and it seems to me as if angels were calling me in die alte Wunderstadt herein. into the old wondrous city. WILHELM MÜLLER

4 Darthulas Grabesgesang Darthula’s Dirge Mädchen von Kola, du schläfst! Maiden of Kola, you sleep! Um dich schweigen die blauen Ströme Around you the blue streams of Selma Selmas are silent! Sie trauren um dich, den letzten Zweig, They mourn for you, the last twig, den letzten Zweig von Thruthils Stamm. the last twig on the branch of Thruthil. Wann erstehst du wieder in deiner When will you rise again in your beauty? Schöne? Schönste der Schönen in Erin! Fairest of the fair in Erin! Du schläfst in Grabe langen Schlaf, You sleep the long sleep of the grave, dein Morgenrot ist ferne! your dawn is far away! Nimmer, o nimmer kommt dir die Never, oh never, will the sun come to you Sonne, weckend an deine Ruhestätte: awakening you in your resting place: Wach auf, wach auf, Darthula! Awake, awake, Darthula! Frühling ist draußen! Die Lüfte säuseln Spring has come! The breezes whisper auf grünen Hügeln, holdseliges on the green hills, fairest of maidens, Mädchen, weben die Blumen! the ﬂowers nod! Im Hain wallt sprießendes Laub! In the grove, budding foliage is waving! Wach auf! Wach auf! Awake! Awake! Auf immer so weiche denn, Sonne! Give way forever then, O sun! Weiche, Sonne, dem Mädchen von Yield, sun, to the maiden of Kola, Kola, sie schläft! she sleeps! Nie ersteht sie wieder in ihrer Schöne! Never will she arise again in her beauty! Nie siehst du sie lieblich wandeln mehr. Never again will you see her wandering, lovely. Sie schläft! She sleeps! JOHANN HERDER, after Ossian ( James MacPherson)

SEIJIOZAWAHALL TEXTSANDTRANSLATIONS 5 BARBER, A Stopwatch and an Ordnance Map A stopwatch and an ordnance map. At five a man fell to the ground, And the watch flew off his wrist Like a moon struck from the earth Marking a blank time that stares On the tides of change beneath. All under the olive trees. A stopwatch and an ordnance map. He stayed faithfully in that place From his living comrade split By dividers of the bullet That opened wide the distances Of his final loneliness. All under the olive trees. A stopwatch and an ordnance map. And the bones are fixed at five Under the moon’s timelessness; But another who lives on Wears within his heart forever The space split open by the bullet. All under the olive trees. STEPHEN SPENDER

BRAHMS, “Geistliches Lied,” Opus 30 Lass dich nur nichts nicht dauern Why should you care today mit Trauren, about tomorrow? sei stille, The One God wie Gott es fügt, directs everything, so sei vergnügt, and he will give you, too, mein Wille. that which is yours. Was willst du heute sorgen Let nothing ever grieve thee auf morgen, with sorrow, der Eine be still, steht allem für, as God has ordained it, der gibt auch dir be content, das Deine. my will. Sei nur in allem Handel Only be in all your doings ohn’ Wandel, unchanging, steh’ feste. stand firm. was Gott beschleusst, What God determines das ist und heißt is and is called das Beste. the best. PAUL FLEMMING

6 AARON COPLAND, Two choruses from “The Tender Land” Libretto by Horace Everett (pseudonym of Erik Johns) “The Promise of Living” The promise of living with hope and thanksgiving is born of our loving our friends and our labor. The promise of growing with faith and with knowing is born of our sharing our love with our neighbor. For many a year we’ve known these fields and known all the work that makes them yield. Are you ready to lend a hand? We’ll bring in the harvest, the blessings of harvest. We plant each row with seeds of grain, and Providence sends us the sun and the rain. By lending a hand, by lending an arm, bring out from the farm, bring out the blessings of harvest. Give thanks there was sunshine, give thanks there was rain. Give thanks we have hands to deliver the grain. Come join us in thanking the Lord for his blessing. O let us be joyful. O let us be grateful to the Lord for His blessing. The promise of ending in right understanding is peace in our own hearts and peace with our neighbor. O let us sing our song, and let our song be heard. Let’s sing our song with our hearts, and find a promise in that song. The promise of living. The promise of growing. The promise of ending is labor and sharing our loving.

“Stomp Your Foot” Stomp your foot up on the floor. Throw the windows open, Take a breath of fresh June air, and dance around the room. The air is free, the night is warm, The music’s here, and here’s my home. Men must labor to be happy, Plowing fields and planting rows. But ladies love a life that’s easy: Churning butter, milking cows, Gathering eggs, feeding sows. Mending, cooking, cleaning, ironing, raising families. Ladies love their fine amusement, Putting patches on a quilt, But men prefer to bend their shoulder To something that will stand when built. Dancing ladies, making matches, Playing games, singing snatches. Romping, frisking, winking, whistling, raising families. Stomp your foot up on the floor. Throw the windows open, Take a breath of fresh June air, and dance around the room. The air is free, the night is warm, The music’s here, and here’s my home.

SEIJIOZAWAHALL TEXTSANDTRANSLATIONS 7 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives) NOTES ON THE PROGRAM

To encompass the range of the Tanglewood Festival Chorus’s repertoire would take far more than one concert; this program does not pretend to cover all bases but represents, perhaps, particular worlds and pieces John Oliver has explored in his work as a choral conductor. Oliver founded the TFC in 1970 as the Boston Symphony Orchestra’s chorus at Tanglewood, and it soon became the orchestra’s year-round resident chorus, appearing in virtually all the major works with chorus to be performed by the BSO—from Bach’s B minor Mass and the Passions to such recent works as John Harbison’s Requiem and William Bolcom’s Eighth Symphony, both composed for the combined forces of the BSO and TFC. Each summer at Tanglewood, too, John Oliver has concocted a Friday-evening Prelude Concert for the chorus, with repertoire ranging from Thomas Tallis to Elliott Carter. At the end of this summer, John Oliver retires after forty-six years as Conductor of the Tanglewood Festival Chorus, fifty years after his first direct collaborations with the Boston Symphony Orchestra. The particular choices of works by Bach, Brahms, Barber, and Copland for this program are both personal and emblematic of his work with the ensemble. Works of Johann Sebastian Bach (1685-1750) are a mainstay of any chorus, and formed the core of the repertoire for John Oliver’s conducting activities in his twenties, during part of which he worked with the eminent Lorna Cooke DeVaron at Tanglewood. Oliver sees the 1727 motet “Singet dem Herrn ein neues Lied” for double chorus as an exemplar of Bach’s choral writing. Working in the tradition of the motet—a highly text-sensitive genre popular in the Renaissance, but in the Baroque a decided and deliberate anachronism—Bach is able to create a contrapuntal texture as dense and fluid as that of his instrumental writing, and vibrantly reflective of the text’s expressive significance. The opening chorus, in a dancing 3/4 meter, embodies the joy of singing praise to God (“Sing to the Lord a new song,” from Psalm 149), chorus II’s bell-like peals (“Sin-get”) creating the back- ground for the quick, melismatic, and imitative lines of chorus I; the two choruses exchange roles with a change in harmony. In the second movement, chorus II sings the chorale setting of “Wie sich ein Vat’r erbarmet” (“As a father has mercy”), alternating with chorus I’s “aria” setting of “Gott, nimm dich ferner unser an” (“God, take us to yourself from now on”). Both parts are from a text by Johann Gramann, aka Poliander (1487-1541). Chorus II’s chorale melody is known familiarly in the English-speaking Christian liturgy as “Old Hundredth.” Chorus I emphasizes an eighth-note pulse versus the quarter-note pulse of chorus II—that is, chorus I sounds twice as fast. In the bright third movement, “Lobet den Herrn in seinen Tranen” (“Praise the Lord in His works”), the first two lines are set in a quick 4/4. With “Alles was Odem hat” (“Everything that has breath”) the choruses join as one (i.e., both soprano sections singing the same part, etc.) for a fugal setting in a flowing 3/8 meter, ending with “Alleluia.”

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

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 3

John Oliver has worked with the songs and choral music of Samuel Barber (1910- 1981) from the beginning of his career, being drawn to the composer’s “unique and unusual divination of text.” Barber composed the two choral works of Opus 42, Twelfth Night and To be Sung on the Water, in 1968. The first is on a text by the English poet and popular memoirist Laurie Lee (1914-97). The setting is largely homophonic (that is, all parts in the same rhythm), beginning in a minor key with chromatic additions, befitting the bleakness of the initial verses. With the mystery- tinged fourth verse, “For see,” Barber is sensitive to the changes both in phrase structure and meaning; a harmonic shift signals the tempered hope of the last verse. New England poet Louise Bogan (1897-1970) was poetry editor of the New Yorker for almost four decades; “To be Sung on the Water” was published in the New Yorker in 1937. Barber’s setting of this poem about life’s transience takes his cue from its title, with an ostinato-like repetition of the opening words establishing a rocking rhythm, the rise and fall of waves or the more human rhythm of rowing. “A Stopwatch and an Ordnance Map” takes the extraordinary tack of combining men’s chorus with timpani in this setting of the English writer and activist Stephen Spender’s poem on the minutiae of war. Barber wrote this setting for the men of a chorus he was directing at the Curtis Institute, leading its premiere in January 1940 (long before U.S. involvement in World War II). The timpani provide both a mili- taristic support of the chorus and a sound-effects dimension. One of the fascinating things about the song is Barber’s shifts between different qualities of time and pulse, reflecting Spender’s several references to time and his repetition of textual motifs. The “Drei Gesänge” (“Three Songs,” 1859-61), Opus 42, of Johannes Brahms (1833- 1897) are settings of secular poems for six-part mixed chorus, with two parts each for altos and basses. The first, “Evening Serenade,” sets an 1802 poem by Clemens Brentano (1778-1842), from the libretto of the Singspiel, The Jolly Musicians (whose composer was E.T.A. Hoffmann). The almost meditative setting makes an implicit parallel between nature and the observer’s sense of peace. “Vineta” is a lilting setting of a poem by Wilhelm Müller (1794-1827), the poet of Schubert’s Winterreise and Die schöne Müllerin. Vineta is a mythical city in the Baltic Sea, sunk beneath the waves in punishment for its immorality. Brahms’s setting is almost entirely syllabic, relying on melodic and harmonic shifts to articulate the speaker’s awestruck description of the city and his longing to live there. The third song, “Darthulas Grabege- sang” (“Darthula’s Grave-song”) sets a German translation of part of an “epic” by the Scot James Macpherson (1736-96) writing as “Ossian,” an apocryphal chronicler of ancient Scotland. The text is the bards’ lament for the Daughter of Colla’s fall. It brightens temporarily with “Awake, Darthula” but sinks once again to grief. Brahms composed his early “Geistliches Lied” (“Spiritual Song”; text by Paul Fleming [1609-40]), a meditation on surrendering to God’s will, in 1856, the year of his men- tor Robert Schumann’s death; it appears not to have been performed until almost a decade later. John Oliver considers it among the most perfect works in the repertoire. The highly contrapuntal piece is an arch form, the first and third verses taking similar settings, with the central verse calling for a somewhat more expansive tone. The setting ends with a broad “Amen.” Aaron Copland (1900-1990) of course figured strongly in the history of Tanglewood, and during John Oliver’s first years here was the Music Center’s most senior faculty member. “The Promise of Living” is a quintet from the end of Act I of Copland’s opera “The Tender Land” (1954), showing optimism for the future in this story of farm life in the American Midwest. The most prominent tune is the traditional “Zion’s Walls,” which Copland includes in his Old American Songs. “Stomp Your Foot”

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 5 from the same opera is a dance celebration following the character Laurie’s high school graduation—and an ideal party-closer for this richly varied program.

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

Artists

Tanglewood Festival Chorus John Oliver, Conductor

This summer, the Tanglewood Festival Chorus performs music of Verdi and Puccini with the Boston Symphony Orchestra conducted by Bramwell Tovey (July 11); Mahler’s Symphony No. 8 with the Tanglewood Music Center Orchestra led by BSO Music Director Andris Nelsons (the TMC 75th Anniversary Gala on August 8), and the BSO’s traditional season-ending Tanglewood performance of Beethoven’s Ninth Symphony, to be led by Asher Fisch (August 16), as well as its annual Friday Prelude concert under John Oliver’s direction in Ozawa Hall, a program this year of music by Bach, Barber, Brahms, and Copland (August 14). Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orches- tra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979

6 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on ﬁve continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conser- vatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technolo- gy (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Photo by John Budris Symphony began in 1964 when, at twenty-four, he

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 7 prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podi- um with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. At the end of the 2015 Tanglewood season, Mr. Oliver will step down from his leadership position with the Tanglewood Festival Chorus. To honor his forty-five years of service to the ensemble, the Boston Symphony Orchestra will award Mr. Oliver the Tanglewood Medal at a ceremony to take place this summer. In addition to taking on the newly created lifetime title of Founder and Conductor Laureate of the TFC, he will also occupy a Master Teacher Chair at the Tanglewood Music Center beginning next summer.

8 Tanglewood Festival Chorus John Oliver, Conductor (Friday Prelude Concert, August 14, 2015)

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

Michele Bergonzi # • Aimée Birnbaum • Jeni Lynn Cameron • Anna S. Choi • Lorenzee Cole # • Sarah Dorfman Daniello # • Diana Gamet • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Kathleen O’Boyle • Jaylyn Olivo • Laura Stanfield Prichard • Livia M. Racz • Adi Rule Mezzo-Sopranos

Lauren A. Boice • Sharon Brown • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Dorrie Freedman § • Irene Gilbride * • Mara Goldberg • Diane Hoffman-Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Daniel Roihl • Julie Steinhilber # • Lelia Tenreyro-Viana • Cindy M. Vredeveld • Karen Thomas Wilcox Tenors

Ryan Casperson • Stephen Chrzan • William Cutter • Tom Dinger • Keith Erskine • J. Stephen Groff # • Henry Lussier § • Mark Mulligan • David Norris * • Lukas Papenfusscline • John R. Papirio • Dwight E. Porter * • Guy F. Pugh • Brian R. Robinson • Francis Rogers • David Roth • Blake Siskavich • Don P. Sturdy # • Adam Van der Sluis Basses

Daniel E. Brooks # • Matthew Collins • Andrew Gribbin • Nathan Kessel • David Kyuman Kim • Will Koffel • Bruce Kozuma # • Timothy Lanagan # • Ryan M. Landry • Maxwell Levy • David K. Lones # • Devon Morin • Stephen H. Owades § • Donald R. Peck # • Michael Prichard # • Sebastian Rémi • Peter Rothstein § • Jonathan Saxton • Karl Josef Schoellkopf # • Alexander Teplansky • Thomas C. Wang #

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Livia M. Racz, German Diction Coach Erik Johnson, Chorus Manager Emily W. Siders, Assistant Chorus Manager Kevin Toler

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 9 The John F. Cogan, Jr., and Mary L. Cornille Concert Friday, August 14, 2015 The performance on Friday evening is supported by a generous gift from BSO Life Trustee John F. “Jack” Cogan, Jr., and his wife, Mary L. Cornille, who are longtime Tanglewood and Symphony patrons. As Great Benefactors, Jack and Mary have given generously to numerous initiatives at the BSO, including the Artistic Initiative and Tanglewood Forever Fund. They named the musicians’ hallway at Symphony Hall, The Cogan/Cornille Corridor, and they established the John F. Cogan, Jr., and Mary L. Cornille Chair, endowed in perpetuity, which is currently held by cellist Owen Young. Jack and Mary are members of the Higginson Society at the Encore level, the Koussevitzky Society at the Patron level, and the Walter Piston Society. Elected to the BSO Board of Overseers in 1984, Jack served as its Vice-Chairman from 1987 to 1989 and Chairman from 1989 to 1992. He was elected a Trustee in 1992 and Vice-Chairman of the Board of Trustees in 2003, a position he held until 2007, when he was elevated to Life Trustee. Jack has served on many board committees, including as a chair of the Principal Gifts and Campaign Planning committees. He is currently a member of the Budget, Investment, and Leadership Gifts committees. Jack is a former chairman and managing partner of the law firm Hale and Dorr (now WilmerHale). A leader in the financial services industry in Boston and beyond, Jack recently retired as trustee, president, and CEO of the Pioneer Funds, where he has served for more than fifty consecutive years. In recognition of his distinguished service, Jack was elected a trustee emeritus of the Pioneer Funds and chairman emeritus of Pioneer Investment Management USA Inc. Active in the community, he is a member of the Harvard Law School’s Dean’s Advisory Board, the Harvard University Art Museums’ Visiting Committee, and chairman emeritus of the Museum of Fine Arts, Boston (MFA). Jack is also trustee emeritus of Boston Medical Center (and past chairman of its predecessor, University Hospital), and a Fellow of the American Academy of Arts and Sciences. Mary is a graduate of Wellesley College and Boston University, where she received a master’s degree in art history. She is an overseer of the MFA and the Epiphany School in Dorchester. She is also a member of WGBH’s Overseers Advisory Board and served on its Music Committee. Stu Rosner

10 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, August 14, 8:30pm THE JOHN F. COGAN AND MARY L. CORNILLE CONCERT “UnderScore Friday” concert, including introductory comments from the stage by BSO trumpet player Benjamin Wright.

ANDRIS NELSONS conducting

MENDELSSOHN Violin Concerto in E minor, Opus 64 Allegro molto appassionato Andante Allegretto ma non troppo—Allegro molto vivace CHRISTIAN TETZLAFF

{Intermission}

MAHLER Symphony No. 6 Allegro energico, ma non troppo Scherzo (Wuchtig) [Weighty] Andante Finale. Allegro moderato

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

TANGLEWOODWEEK 7 FRIDAYPROGRAM 11 NOTES ON THE PROGRAM

Felix Mendelssohn (1809-1847) Violin Concerto in E minor, Opus 64 First performance: March 13, 1845, Gewandhaus Orchestra of Leipzig, Niels Gade cond., Ferdinand David, soloist. First BSO performance: February 18, 1882, Georg Henschel cond., Alfred de Sève, soloist. First Tanglewood performance: August 15, 1941, Boston Symphony Orchestra, Serge Koussevitzky cond., Albert Spalding, soloist. Most recent Tanglewood performance: August 6, 2011, Sean Newhouse cond., Sarah Chang, soloist. Ferdinand David (1810-73) was one of the most distinguished German violinists and teachers of his day. When the twenty-seven-year-old Mendelssohn became director of the Gewandhaus concerts in Leipzig in 1836, he had David, just a year his junior, appointed to the position of concertmaster. Relations were always very cordial between composer and violinist, and their warmth was marked in a letter that Mendelssohn wrote to David on July 30, 1838, in which he commented, “I’d like to write a violin concerto for you next winter; one in E minor sticks in my head, the beginning of which will not leave me in peace.” But having said as much, Mendelssohn was not in a hurry to complete the work. He sketched and drafted portions of it in at least two distinct stages over a period of years, and his correspondence with David is sometimes filled with discussions of specific detailed points of technique, and sometimes with the violinist’s urgent plea that he finish the piece at last. By July 1839 Mendelssohn was able to write David reiterating his plan of writing a concerto; the composer

12 commented that he needed only “a few days in a good mood” in order to bring him something of the sort. Yet Mendelssohn didn’t find those few days for several years— not until he decided to shake off the wearying appointment at the court of Frederick William IV in Berlin. So it wasn’t until July 1844 that he was able to work seriously on the concerto; on September 2 he reported to David that he would bring some new things for him. Two weeks later the concerto was finished. David was Mendelssohn’s adviser on matters of technical detail regarding the solo part; he must have motivated the composer’s decision to avoid sheer virtuoso diffi- culty for its own sake. In fact, David claimed that it was these suggestions of his, which made the concerto so playable, that led to the work’s subsequent popularity. It is no accident that Mendelssohn’s concerto remains the earliest Romantic violin concerto that most students learn. At the same time it is, quite simply, one of the most original and one of the most attractive concertos ever written. The originality comes from the new ways Mendels- sohn found to solve old formal problems of the concerto. At the very beginning, in a radical departure from standard, Baroque-derived concerto practice, Mendelssohn dispenses entirely with an orchestral ritornello, fusing the opening statement of orchestra and soloist into a single exposition. This was part of his design from the very beginning. Even the earliest sketch of the first movement shows the two measures of orchestral “curtain” before the soloist introduces the principal theme. The other problem of concerto form that Mendelssohn attacked in a new way was that of the cadenza. Normally, just before the end of the movement, the orchestra pauses on a chord that is the traditional signal for the soloist to take off on his or her own, and everything comes to a standstill while we admire the sheer virtuosity of the soloist, despite the fact that the cadenza might be outrageously out of style with the rest of the piece, or so long and elaborate as to submerge entirely the composition it is attached to. Mendelssohn’s solution is simple and logical—he composes his own cadenza for the first movement, but instead of making it an afterthought, he places it in the heart of the movement, allowing the soloist the chance to complete the development and inaugurate the recapitulation. No other cadenza had ever played so central a role in the structure of a concerto to that time. Finally, Mendelssohn was an innovator with his concertos by choosing to link all the movements into one another without a break, a pattern that had been found earlier in such atypical works as Weber’s Konzertstück for piano and orchestra, but never in a work having the temerity to call itself a concerto. Yet we can’t imagine the Liszt concertos and many others without this change. The smooth discourse of the first movement, the way Mendelssohn picks up short motives from the principal theme to punctuate extensions, requires no highlighting. But it is worth pointing out one of the loveliest touches of orchestration at the arrival of the second theme, which is in the relative major key of G. Just before the new key is reached, the solo violin soars up to high C and then floats gently downward to its very lowest note, on the open G-string, as the clarinets and flutes sing the tranquil new melody. Mendelssohn’s lovely touch here is to use the solo instrument—and a violin at that, which we usually consider as belonging to the treble range—to supply the bass note, the sustained G, under the first phrase; it is an inver- sion of our normal expectations, and it works beautifully. When the first movement comes to its vigorous conclusion, the first bassoon fails to cut off with the rest of the orchestra, but holds its note into what would normally be silence. The obvious intention here is to forestall intrusive applause after the first movement; Mendelssohn gradually came to believe that the various movements of

TANGLEWOODWEEK 7 FRIDAYPROGRAMNOTES 13 a large work should be performed with as little pause as possible between them, and this was one way to do it (though it must be admitted that the sustained bassoon note has not always prevented overeager audiences from breaking out in applause). A few measures of modulation lead naturally to C major and the lyrical second movement, the character of which darkens only with the appearance of trumpets and timpani, seconded by string tremolos, in the middle section. Once again at the end of the movement there is only the briefest possible break; then the soloist and orchestral strings play a brief transition that allows a return to the key of E (this time in the major mode) for the lively ﬁnale, one of those brilliantly light and ﬂeet- footed examples of “fairy music” that Mendelssohn made so uniquely his own.

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

Gustav Mahler (1860-1911) Symphony No. 6 First performance: May 27, 1906, Essen, Mahler cond. (Mahler having composed the work in the summers of 1903 and 1904; having led a reading rehearsal with the Vienna Philharmonic in March of that year; and later going on to revise the work in various ways). First BSO performance: November 13, 1964, Erich Leinsdorf cond. First Tanglewood performance: July 30, 1972, James Levine cond. Most recent Tanglewood performance: July 17, 2009, Levine cond. Only other Tanglewood performance: July 20, 1998, Tanglewood Music Center Orchestra, James Conlon cond. We have a tendency, ex post facto, to think of Mahler as a death-obsessed neurotic, virtually incapable of living in the real world but rather pouring out his anguish, longing, and intimations of mortality in his work. To a considerable extent these views derive from Alma Mahler’s memoirs, which are an indispensable source but must be used with extreme caution, since she had every reason to build up her own role in “sustaining” the composer through his tribulations. Until his heart lesion was discovered in 1907, Mahler maintained a vigorous summer regimen of swimming, hiking, and mountain climbing, activities put in the service of generating and working out his musical ideas. Alma recalled that the summers of 1903 and 1904, during which he composed the Sixth Symphony, were emotionally untroubled. Only one thing upset her—or so she remembered years later: in both summers Mahler set to music some poems by Friedrich Rückert dealing with the death of children. The result, of course, was Mahler’s great song cycle Kindertotenlieder, which was conceived and composed at the same time as the Sixth Symphony and which, in retrospect, Alma Mahler felt tempted fate. She claimed similar foreboding upon hearing the completed symphony. The last movement of the Sixth Symphony contained, at three decisive points, a single powerful stroke with a hammer, the instrument being introduced into the score of the symphony solely for these three strokes. According to Alma, the composer described the movement, with its hammer strokes, as “the hero, on whom fall three blows of fate, the last of which fells him as a tree is felled.” With the hindsight of one writing her memoirs, Alma saw three “hammer strokes” that struck Mahler himself in the year 1907 (though her description of the events, which has been followed by most writers, telescopes the time span and gives the impression that the blows came

14 directly one after the other): (1) his resignation from the Vienna Opera in the face of mounting opposition to his reforms (and the strong thread of anti-Semitism in the city’s cultural life); (2) the sudden and devastating death of his elder daughter Maria, at age four-and-a-half, from scarlet fever and diphtheria; and (3) the discov- ery of his own serious heart condition—the blow that “felled him.” Still, though Alma and Mahler may not have reacted with foreboding when she first heard the music, the composer after 1907 came to be superstitiously afraid of the three hammer strokes, and eventually removed the last, “mortal” blow. As the score is printed in the critical edition of Mahler’s works, there are only two such strokes, though many conductors choose to reinstate the missing one. The hammer blows presented a problem at the first performance. During the rehearsals it was discovered that they could not be heard to proper effect, and the performers tried striking the hammer against various objects (including a specially constructed drum of Mahler’s own invention) to improve audibility, but none of them seems to have been entirely satisfactory. The score states simply that the hammer blow should be a “short, strong, but dully reverberating stroke of a non-metallic character (like an axe-stroke)”; the problem of creating the appropriate sound is left to the performers. Alma’s memoirs recall the emotions aroused in the composer as he prepared the orchestra for the first performance of the Sixth, to be held at a festival of the United German Music Society in Essen on May 27, 1906. Apparently one result of his highly wrought-up reaction to the dress rehearsal was that he did not conduct the premiere itself well, fearing to underline the significance of the last movement. The response of the critics was not especially favorable, with complaints in general that Mahler’s undeniable brilliance of orchestral technique had outstripped the content of his work. But two young men with highly educated musical ears were entranced and excited, and they remained devotees of Mahler’s music. Their names were Anton Webern and Alban Berg. One reason for their enthusiasm is that here Mahler achieves his most successful bal- ance between dramatic self-expression, which is always at the core of his music, and architectural formality. It is, in fact, one of the most striking things about the Sixth that it is at once deeply personal and classically formal. Three of the four movements are in the tonic key of A minor, the only exception being the slow movement. The sinister opening bars introduce the constantly recurring motives of the steady tramping in the bass and a dotted rhythm. The formal exposition (which is repeated, as in earlier classical symphonies) adds to these motives a melody opening with a downward octave leap and more marching, leading to the first explicit statement of an important “motto” idea, consisting simply of an A major triad that suddenly turns to minor. This major-to-minor motto functions on the smallest scale as a metaphor for the mood of the entire work. A chorale-like theme in the woodwinds, punctuated by light pizzicato strings, leads to F major and the passionate second theme, soaring in the violins and upper woodwinds. After the repeat of the exposition, the development gets underway with rich contrapuntal interchanges among the various thematic ideas. One of the most poetic pas- sages is the surprising appearance of cowbells playing against soft chords in the celesta and high, triple-piano tremolo chords in the violins. In the score Mahler adds a careful footnote that “the cowbells must be handled very discreetly—in realistic imitation of a grazing herd, high and low-pitched bells resounding from the distance, now all together, now individually.” The first movement ends with the second theme in a temporarily consoling A major.

TANGLEWOODWEEK 7 FRIDAYPROGRAMNOTES 15 The two middle movements raise a special question. Mahler originally placed them in the order Scherzo-Andante, which is the order found in the manuscript and used in the first published score. But then, perhaps because he was persuaded that the thematic material of the scherzo was too similar to that of the first movement, he reversed the order of the two movements to Andante-Scherzo, the sequence used for all of the performances Mahler himself conducted and for subsequent printings of the score during his lifetime. But he was not permanently convinced, changing his mind on this point, even during rehearsals. Though the editor of the 1963 critical edition of Mahler’s Sixth Symphony, as well as the editors of the 1998 reprint, opted for Mahler’s original conception of Scherzo-Andante, the most recent editor reversed the decision in 2003, saying—on an insert to the score— that the order should be Andante-Scherzo. Since arguments can be made for either sequence, the controversy has become more heated in recent years, and it remains for conductors to choose between the two. In this performance, Andris Nelsons opts for the sequence Scherzo-Andante. The scherzo opens with an explicit reminiscence of the tramping bass of the opening movement, and follows it with recollections of other material, now occasionally in a slightly parodistic mode (especially the sarcastic trills of the woodwinds). The Trio, marked “Altväterisch” (“in an old-fashioned style”), features the oboe in a charming passage written in irregular rhythms. According to Alma’s memoirs, this section “represented the arhythmic games of the two little children, tottering in zig- zags over the sand.” Here again she found the ending to be ominous and foreboding, dying away enigmatically, as it does, into A minor and silence. The Andante, in E-flat major, provides the one real passage of consolation in the symphony (significantly, this occurs in the key that is farthest away from A minor), though the melodic material is akin to that of one of the Kindertotenlieder. By placing the Andante here, in third position, Mahler prepares a wonderful contrast for the beginning of the crushing finale. The slow movement ended softly and lyrically in E-flat; the finale begins in the relative minor of that key, C minor—one of Mahler’s favorite expressive tonal relationships. A soaring violin theme, beginning with a rising octave, mirrors the falling octave of the first-movement theme. In this finale, Mahler establishes on an imposing scale a contrapuntal texture bringing together elements from throughout the symphony, especially the first movement. A development section builds toward a massive climax in D major, but just at the point of arrival the first hammer blow breaks off the cadence and the major mode shifts suddenly to minor for a new and still more urgent development. Building to a passage of pure, almost Palestrinian counterpoint in A, the climactic cadence to D is once again interrupted by a hammer stroke and a deceptive cadence onto B-flat. Another return to the introduction builds a climax in A major, which bids fair to hold to the triumphant conclusion of the symphony. This is the point where the third and final hammer stroke is called for. Even if it is omitted from a performance, as it is from the critical edition, the point is marked by the thunderous return of the marching timpani figure from the opening movement, following which the only response is a complete collapse, as the brass and woodwinds sound once more the A minor triad—the conclusion of the motto figure—while the heavy timpani march dies away in sullen silence to a soft pizzicato A in the strings.

STEVEN LEDBETTER

16 Guest Artist Christian Tetzlaff Christian Tetzlaff is internationally recognized as one of the most important violinists of today, performing and recording a broad spectrum of the repertoire. Also a dedicated chamber musician, he frequently collaborates with distinguished artists and is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister, and his sister, cellist Tanja Tetzlaff. Born in Hamburg in 1966, he grew up in a musical family; his three siblings are all professional musicians. In demand as a soloist with many of the world’s leading orchestras and conductors, he has established close artistic partnerships that are renewed season after season. He has performed with the orchestras of Boston, Chicago, Cleveland, Philadelphia, New York, San Francisco, Los Angeles, St. Louis, Pittsburgh, Montreal, Washington, D.C., and Toronto, among many others, and also appears regularly in recital and with major orchestras in Berlin, London, Vienna, Rotterdam, and Amsterdam. Festival appearances have taken him to Verbier, Salzburg, Tanglewood, and New York’s Mostly Mozart Festival. Highlights of Mr. Tetzlaff’s 2015-16 season include return engagements with the Phila- delphia Orchestra, San Francisco Symphony, Minnesota Orchestra, the Orchestra of St. Luke’s at Carnegie Hall, London Philharmonic, Israel Philharmonic, and Budapest Festival Orchestra; a tour with the Gewandhaus Orchestra featuring performances in Leipzig, Vienna, Paris, and London; and chamber music tours in North America and Europe with Lars Vogt and Tanja Tetzlaff and with Leif Ove Andsnes, Tabea Zimmer- mann, and Clemens Hagen. As a 2010-11 Carnegie Hall Perspectives artist, Mr. Tetzlaff curated a personal concert series in Carnegie Hall and Zankel Hall, which included a concert with the Boston Symphony Orchestra featuring concertos by Mozart, Bartók, and Birtwistle; appearances as conductor and soloist with the Orchestra of St. Luke’s; a performance with the Ensemble ACJW under Sir Simon Rattle; collaborations with the Tetzlaff Quartet and violinist Antje Weithaas; and a workshop for young violinists and pianists, culminating in a young artist concert. Mr. Tetzlaff's recordings reflect the breadth of his musical interests and include solo works, chamber music, and concertos ranging from Haydn to Bartók. His recordings include the complete Bach sonatas and partitas for solo violin for the Musical Heritage and Haenssler labels; Szymanowski’s Violin Concerto No. 1 with the Vienna Philharmonic and Pierre Boulez (Deutsche Grammophon); the Schumann and Mendelssohn violin concertos with the Frankfurt Radio Orchestra and Paavo Järvi (Edel Classics); Jörg Widmann’s Violin Concerto, written for Mr. Tetzlaff, with the Swedish Radio Symphony Orchestra and Daniel Hard- ing (Ondine); the two Shostakovich violin concertos with the Helsinki Philharmonic and John Storgårds (also Ondine); and Berg’s Lyric Suite and Mendelssohn’s Opus 13 quartet with the Tetzlaff Quartet (CAVI). Recent and upcoming Ondine releases include the three Brahms piano trios with cellist Tanja Tetzlaff and pianist Lars Vogt, and the three Brahms sonatas for violin and piano with Mr. Vogt. Christian Tetzlaff currently performs on a violin modeled after a Guarneri del Gesù and made by the German violin maker Peter Greiner. Christian Tetzlaff made his Boston Symphony debut in November 1990 and his Tanglewood debut in August 2004. His frequent BSO appearances have encompassed concertos by Schumann, Berg, Ligeti, Beethoven (including his most recent BSO appearances, in Boston and New York this past April), Sibelius, Szymanowski, Brahms, Mozart, Schoenberg, Birtwistle (a BSO-commissioned world premiere), and Bartók. He has also appeared in recital on several occasions in Ozawa Hall, most recently for a program of solo violin works this past Wednesday night.

TANGLEWOODWEEK 7 GUESTARTIST 17 The Robert and Jane Mayer Concert Saturday, August 15, 2015 The performance on Saturday evening is supported by a generous gift from Trustee Robert J. Mayer, M.D., and his wife, Jane, who are longtime BSO patrons at Tangle- wood and in Boston. Symphony subscribers for thirty consecutive years, they also attend many performances at Tanglewood each season. Bob was elected an Overseer in 2001 and a Trustee in 2005. He serves as chair of the Overseers Nominating Committee and a member of the Trustees Nominating and Governance, Campaign Executive, Leadership Gifts, and Annual Funds committees. Bob was previously chair of the Tanglewood Annual Fund. Jane is a member of the Education Committee. The Mayers, who were chairs of the Tanglewood Gala last season, have been members of the benefactor committee for both Tanglewood and Symphony galas for many years. Bob and Jane are members of the Koussevitzky Society, the Higginson Society, and the Walter Piston Society. They have supported the Tanglewood Forever Fund, and the Mayer family has also named two seats in Symphony Hall. Bob is the faculty vice-president for academic affairs at Dana-Farber Cancer Institute and the faculty associate dean for admissions at Harvard Medical School, where he is the Stephen B. Kay Family Professor of Medicine. Bob is a graduate of Williams College and Harvard Medical School. Jane directed the department of social work at Beth Israel Deaconess Medical Center for many years before serving as vice-president for resident services and community relations at Cornu Management Company. She currently chairs the Art and Environment Program at Dana-Farber and is a board member of the Winsor School, Kids4Harmony, and the Museum of Fine Arts Boston, where she is also a Gallery Instructor. Jane is a graduate of Boston University and Columbia School of Social Work. Bob credits his father for encouraging his interest in music. He learned to love classical music early, and most of his fondest and clearest memories are of seeing the greats perform the best music. Bob and Jane have shared their passion for music and Tanglewood with their two daughters, Erica and Rachel, and their families. Stu Rosner

18 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Saturday, August 15, 8:30pm THE ROBERT AND JANE MAYER CONCERTS

ANDRIS NELSONS conducting

BARBER Second Essay for Orchestra, Opus 17

BOITO “L’altra notte in fondo al mare” from “Mefistofele,” Act III KRISTINE OPOLAIS, soprano Text and translation are on page 23.

PUCCINI Intermezzo from “Manon Lescaut,” Act III

VERDI Willow Song and “Ave Maria” from “Otello,” Act IV Ms. OPOLAIS Text and translation begin on page 25.

{Intermission}

STRAUSS “Ein Heldenleben” (“A Heroic Life”), Tone poem, Opus 40 The Hero—The Hero’s Adversaries— The Hero’s Companion—The Hero’s Battlefield— The Hero’s Works of Peace—The Hero’s Escape From the World and Fulfillment

MALCOLM LOWE, solo violin

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

TANGLEWOODWEEK 7 SATURDAYPROGRAM 19 NOTES ON THE PROGRAM

Samuel Barber (1910-1981) Second Essay for Orchestra, Opus 17 First performance: April 16, 1942, Carnegie Hall, New York Philharmonic, Bruno Walter cond. Only previous BSO performances: December 1998, Leonard Slatkin cond. The son of a physician, Samuel Barber grew up in a Philadelphia suburb within an environment sympathetic to his ambition to become a composer. His mother’s sister was the noted contralto Louise Homer. Her husband, Sidney Homer, a successful composer of art songs, provided encouragement and counsel. Barber entered Philadelphia’s Curtis Institute at fourteen, where he studied piano, voice, composition, and conducting, and met Gian Carlo Menotti, the composer who became his intimate companion for most of his life. As a student, Barber composed some of the works—among them Dover Beach and the Cello Sonata—that are still heard regularly today. By the time Barber turned thirty, his pieces had been performed by the Philadelphia Orchestra, the Cleveland Orchestra, and the New York Philhar- monic, and in 1938 Toscanini led the NBC Symphony Orchestra in the First Essay for Orchestra and the Adagio for Strings. In the years that followed, Barber continued to achieve auspicious successes, most notably Knoxville: Summer of 1915, premiered by Serge Koussevitzky and the Boston Symphony Orchestra, a Piano Sonata premiered by Vladimir Horowitz, and Vanessa, an opera with libretto by Menotti, produced by the Metropolitan Opera in 1958 and awarded the Pulitzer Prize that same year. At thirty-two, his reputation already well established, he was asked by Bruno Walter for a work in commemoration of the 100th anniversary of the New York Philharmonic—this was the Second Essay for Orchestra, premiered at Carnegie Hall on April 16, 1942. Barber’s early music is characterized by a rather genteel, high-toned lyricism, with straightforward rhythm, consonant harmony, and clear textures. The Second Essay was written as he entered a new period of “experimentation,” incorporating elements into his music that other composers were exploring successfully. Its lyrical primacy, solemn tone, and clarity of harmony, rhythm, and texture are characteristic of his

20 earlier works, while the pentatonic structure of the main theme, and its emphasis on the intervals of the fourth and fifth, give it an American flavor—devices new to Barber, but used by a number of other composers during this period. In addition, its breadth of utterance and reach for grandeur link it to many other American works of the 1940s. The Second Essay encompasses three main sections: a sort of “prologue,” followed by a scherzo-like developmental section, which leads to a fervent, hymnlike apotheo- sis. The opening section presents the work’s two main themes. The first, the pentatonic theme with its “searching” quality, is introduced by the flute, picked up by the bass clarinet, and then elaborated by the rest of the orchestra. The music gradually becomes more animated, leading to the second thematic idea, first in the violas, followed by the oboe, with a restless, repeated-note accompaniment in the flutes and clarinets. The energy level of the music increases as the second idea is developed. The second section follows a loud orchestral chord, as the clarinet and bassoon begin a skittish fugato, based on the opening theme transformed into a rapid triplet rhythm. The second theme is added to the nervous polyphonic tapestry, and the two ideas undergo considerable development. Finally, the themes are heard—in reverse order—closer to their original guise, as the tempo broadens, forming a transition to the third section. The concluding section is based on a third thematic idea, previously hinted at by the brasses toward the end of the first section. This hymnlike theme begins softly but richly in the strings and gradually builds in intensity, as the trumpets and horn add the opening pentatonic theme. The hymn finally culminates in a triumphant affirmation whose sense of monumentality is remarkable for a work of such modest proportions.

WALTER SIMMONS A recipient of the ASCAP/Deems Taylor Award for music criticism and a contributor to The New Grove Dictionary of Music and Musicians, Walter Simmons is a musicologist, author, and critic who specializes in 20th- and 21st-century music.

Arrigo Boito (1842-1918) “L’altra notte in fondo al mare” from “Mefistofele,” Act III A musician, poet, novelist, critic, and generally sophisticated man of letters, Arrigo Boito’s legacy as a librettist is secured through his work with Verdi on Otello and, especially, Falstaff, for which Boito produced one of the finest librettos in the entire operatic repertoire. His hesitant and self-conscious work as a composer of his own music was limited in scope and in general far less distinguished, a fact about which he himself had no delusions, but his output nevertheless contains iso- lated bright spots. Noteworthy among these are the Prologue and the Act III prison scene from his only completed opera, Mefistofele, an adaptation of Goethe’s Faust on his own libretto. An abysmal failure upon its premiere in Milan in 1868, Mefistofele achieved much more success eight years later in a significantly revised version that had its debut in Bologna, and it continues to receive occasional revivals, usually as a vehicle to display a star bass in the title role. “L’altra notte in fondo al mare” opens Act III and is a cri de coeur for the imprisoned Margherita, whom Faust has seduced with Mefistofele’s help. Margherita, a simple country girl, has inadvertently poisoned her mother with what Faust told her was an innocent sleeping draught that would allow her to sneak away to their ren- dezvous, and is also falsely accused of killing the baby she bore as a result. Confused

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 21 22 and abandoned, she fights against madness and calls to the heavens for mercy in wrenching, virtuosically soaring strains.

JAY GOODWIN New York-based annotator Jay Goodwin has written for the Metropolitan Opera, Boston Symphony Orchestra, Juilliard School, and Australian Chamber Orchestra. Currently on the editorial staff at Carnegie Hall, he was the Tanglewood Music Center’s Publications Fellow in 2009.

MARGHERITA L’altra notte in fondo al mare The other night they cast my baby boy il mio bimbo hanno gittato; into the depths of the sea; or per farmi delirare now, to drive me mad, dicon ch’io l’abbia affogato. they say I drowned him. L’aura è fredda, il carcer fosco, The air is chill, the prison dark, e la mesta anima mia and my sad soul, come il passero del bosco like a bird from the woods, vola, vola via. flies, flies away. Ah, di me pieta! Ah, mercy upon me! In letargico sopore In deepest torpor è mia madre addormentata, my mother lies asleep, è per colmo dell’orrore and—more horrible than all— dicon ch’io l’abbia attoscata. they say I poisoned her. L’aura è fredda, ecc. The air is chill, etc. Trans. Dale McAdoo

Giacomo Puccini (1858-1924) Intermezzo from “Manon Lescaut,” Act III Puccini’s publisher, Giulio Ricordi, was less than enthusiastic when, in 1889, the composer proposed an opera based on the Abbé Prévost’s popular but controversial 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut and its materialistic, promiscuous, and ultimately doomed heroine. Ricordi’s main concern was that the story had already been given two operatic treatments, the second of which was Massenet’s very successful and well-known Manon. But Puccini was undeterred.“Why shouldn’t there be two operas about Manon? A woman like Manon can have more than one lover,” he wrote. “Massenet feels it as a Frenchman, with powder and minuets. I shall feel it as an Italian, with a desperate passion.” And, luckily for both him and Ricordi, he did exactly that. Puccini’s Italianate Manon Lescaut, his third opera, premiered at the Teatro Regio in Turin on February 1, 1893, and the response was sufficiently rapturous that by the time the 79-year- old Verdi—the undisputed king of Italian opera for almost half a century— bid farewell with the premiere of his valedictory Falstaff just over a week later, the succession was already secured. Though wordless, the orchestral intermezzo that begins Act III is suffused with Puccini’s “desperate passion” through and through. Positioned at roughly the midpoint of the four-act opera, just as everything has begun to go horri- bly wrong for Manon, it marks the beginning of the fickle, feckless, and gold-digging anti-heroine’s inexorable fall. Having left her young lover from Act I, Des Grieux,

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 23 when his money ran out, and then become bored in a bejeweled but frigid affair with his replacement, the wealthy, much older Geronte, Manon has attempted to abscond with his jewelry and elope once again with Des Grieux. She is caught in the act, however, and at the conclusion of Act II, Geronte has her arrested for theft. During the intermezzo, Manon is transported from Paris to a prison in Normandy, where she is held with a group of prostitutes in preparation for their deportation to Louisiana. Incorporating previously heard motives from the opening two acts— including, most prominently, the ardent yet star-crossed theme of Manon and Des Grieux’s passion—the intermezzo serves as a microcosm of the entire sordid tale, offering glimpses of sweetness and building to a passionate climax, but ultimately turning bitter and spinning out of control. Though the serene, wistful concluding measures seem to offer a glimmer of hope, any sense of optimism curdles as the curtain rises to reveal Manon behind bars.

JAY GOODWIN

Giuseppe Verdi (1813-1901) Willow Song and “Ave Maria” from “Otello,” Act IV In 1879, ten years before Puccini persuaded the reluctant Ricordi to support the Manon Lescaut project, Ricordi had to do some convincing of his own to coax a new opera out of the aging, increasingly reclusive Verdi, whose pen had been silent since the Requiem of 1874 and who had not added a new opera to his catalogue since Aida’s premiere in 1871. Ricordi’s fellow lobbyist was Arrigo Boito, who was to become Verdi’s final and finest librettist—for which we also have Ricordi, who patched up a rocky relationship between the two men, to thank. Knowing of Verdi’s lifelong devotion to the works of Shakespeare, a passion shared by Boito, Ricordi proposed an opera on Othello. Though resistant at first, the prospect of a new opera on Shakespeare and on Boito’s accomplished first draft of the libretto were impossible for Verdi to resist. The composition process was lengthy and fragmented and did not begin in earnest until 1884, after Verdi and Boito solidified their artistic partnership by working together on revisions to Simon Boccanegra and Don Carlo; but finally, in 1887, audiences in Milan reveled in the triumphant premiere production of Otello, an innovative new breed of Verdi opera for a new musical climate, one of the genre’s towering masterpieces and a staggering declaration that the longtime king of Italian music, who had begun to receive criticism for being conservative and outmoded, was still untouchable. Desdemona’s Willow Song and “Ave Maria” come from the beginning of Act IV, as Otello’s devoted wife prepares for bed and awaits the arrival of her husband, who, having been manipulated by the jealous Iago, has falsely accused her of betraying him with his friend and captain, Cassio. Though Otello has not yet definitively con- demned her, Desdemona seems to know that with her husband comes her death. She sings for her handmaiden, Emilia, a tune that she can’t seem to get out of her head, a song that she recalls a poor, heartbroken maidservant of her mother’s singing. Desolate and heartrending, it is at once a remembrance from her past and a chilling premonition of her future. After she bids Emilia goodnight and farewell, Desdemona prays an anguished “Ave Maria,” asking for mercy and intercession that she knows will not come.

JAY GOODWIN

24 VERDI “Otello,” Act IV Desdemona’s bedroom. A bed, a prie-dieu, a table, a mirror, and some chairs. A lighted lamp hangs before the image of the Madonna above the prie-dieu. On the right is a door. It is night. Desdemona, with the assistance of Emilia, is preparing for bed.

[EMILIA [EMILIA Era più calmo?]* Was he calmer?] DESDEMONA DESDEMONA Mi parea. He seemed so to me. M’ingiunse di coricarmi He commanded me to go to bed e d’attenderlo. and there await him. Emilia, te ne prego, Emilia, I pray you, distendi sul mio letto lay upon my bed la mia candida veste nuziale. my white wedding nightgown. (Emilia does so.) Senti. Listen. Se pria di te morir dovessi, If I should die before you, mi seppellisci con un di quei veli. lay me to rest in one of those veils. [EMILIA [EMILIA Scacciate quest’idee.] Put such thoughts from you.] DESDEMONA DESDEMONA Son mesta tanto, tanto. I am so sad, so sad. (seating herself mechanically before the mirror) Mia madre aveva una povera ancella, My mother had a poor maidservant, innamorata e bella; she was in love and pretty; era il suo nome Barbara; her name was Barbara; amava un uom che poi l’abbandonò. she loved a man who then abandoned her. Cantava una canzone, She used to sing a song, la canzon del Salice.“The Song of the Willow.” (to Emilia) Mi disciogli le chiome. Unbind my hair. Io questa sera ho la memoria piena This evening my memory is haunted di quella cantilena. by that old refrain. “Piangea cantando nell’erma landa, “She wept as she sang on the lonely heath, piangea la mesta, the poor girl wept, O Salce! Salce! Salce! O Willow, Willow, Willow! Sedea chinando sul sen la testa, She sat with her head upon her breast, Salce! Salce! Salce! Willow, Willow, Willow! Cantiamo! cantiamo! Come sing! Come sing! Il salce funebre sarà la mia ghirlanda.” The green willow shall be my garland.” (to Emilia) Affrettati; fra poco giunge Otello. Make haste; Othello will soon be here. “Scorreano i rivi fra le zolle in fior, “The fresh streams ran between the flowery gemea quel core affranto, banks, she moaned in her grief,

Please turn the page quietly.

*Emilia’s lines, printed within brackets, are not sung in this performance.

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 25 e dalle ciglia le sgorgava il cor in bitter tears flowing from her eyes, l’amara onda del pianto. her poor heart sought relief. Salce! Salce! Salce! Willow! Willow! Willow! Cantiamo! cantiamo! Come sing! Come sing! Il salce funebre sarà la mia ghirlanda. The green willow shall be my garland. Scendean l’augelli a vol dai rami cupi Down from dark branches flew the birds verso quel dolce canto. toward the singing sweet. E gli occhi suoi piangean tanto, tanto, So copious were the tears she wept da impietosir le rupi.” that even stones shared her sorrow.” (to Emilia, taking a ring from her finger) Riponi quest’anello. Lay this ring by. (rising) Povera Barbara! Poor Barbara! Solea la storia con questo The story used to end semplice suono finir: with this simple phrase: “Egli era nato per la sua gloria, “He was born for glory, ioperamar...” Itolove...” (to Emilia) Ascolta. Odo un lamento. Hark! I heard a moan. (Emilia takes a step or two.) Taci... Chi batte quella porta? Hush... Who knocks upon that door? [EMILIA [EMILIA È il vento.]’Tis the wind.] DESDEMONA DESDEMONA “Io per amarlo e per morir. “I to love him and to die. Cantiamo! cantiamo! Come sing! Come sing! Salce! Salce! Salce!” Willow! Willow! Willow!” Emilia, addio. Emilia, farewell. Come m’ardon le ciglia! How mine eyes do itch! È presagio di pianto. That bodes weeping. Buona notte. Good night. (Emilia turns to leave.) Ah! Emilia, Emilia, addio! Ah! Emilia, Emilia, farewell! Emilia, addio! Emilia, farewell! (Emilia returns and Desdemona embraces her. Emilia leaves. Desdemona kneels at the prie-dieu.) Ave Maria, piena di grazia, Hail Mary, full of grace, eletta fra le spose e le vergini sei tu, blessed amongst wives and maids art thou, sia benedetto il frutto, o benedetta, and blessed is the fruit, o blessed one, di tue materne viscere, Gesù. of thy maternal womb, Jesu. Prega per chi, adorando a te, si prostra, Pray for those who kneeling adore thee, prega nel peccator, per l’innocente, pray for the sinner, for the innocent e pel debole oppresso e pel possente, and for the weak oppressed; and to the powerful man, misero anch’esso, tua pietà dimostra. who also grieves, thy sweet compassion show. Prega per chi sotto l’oltraggio piega Pray for him who bows beneath injustice la fronte,

26 e sotto la malvagia sorte; and ’neath the blows of cruel destiny; per noi, per noi tu prega, for us, pray thou for us, prega sempre, pray for us always, e nell’ora della morte nostra, and at the hour of our death prega per noi, prega per noi, pray for us, pray for us, prega! pray! (She remains kneeling and, with her head bowed on the prie-dieu, repeats the prayer silently, so that only the first words and the last are audible.) Ave Maria... Hail Mary...... nell’ora della morte. ... at the hour of our death. Ave!... Amen! Hail!... Amen!

Trans. © Decca Music Group Ltd.

Richard Strauss (1864-1919) “Ein Heldenleben” (“A Heroic Life”), Tone poem, Opus 40 First performance: March 3, 1899, at a Frankfurt Museum concert, Strauss cond. First BSO performances: December 1901, Wilhelm Gericke cond. First Tanglewood performance: July 29, 1962, Erich Leinsdorf cond. Most recent Tanglewood performance: July 11, 2010, Rafael Frühbeck de Burgos cond. Seventy-eight years separate Strauss’s first composition and his last. For almost forty years, he devoted most of his energies to opera, though he was a man of forty-one at the premiere of Salome in December 1905. He had completed an opera called Guntram as early as 1893, but it disappeared from the stage almost immediately. The Guntram experience cost him lots of headaches, both in Weimar, where he was conductor from 1889 to 1894, and later in Munich, his next way-station. His happiest association was his engagement during the rehearsal period and his marriage four months later to his pupil Pauline de Ahna, who took the principal female role. Pauline plays an important part in Ein Heldenleben, as well as in such works as the Symphonia domestica and the opera Intermezzo. The sound and the memory of her luminous soprano inform countless pages in his opera scores and songs; and in the setting of Eichendorff’s Im Abendrot (one of the Four Last Songs), Strauss built a won- drously moving monument to their enduring devotion. After Guntram, at any rate, Strauss returned to a path he had already explored for a half-dozen years, that of the orchestral tone poem. Reared in a conservative, classical tradition, having just arrived at Brahms by way of Mendelssohn, Chopin, and Schumann, the twenty-one-year-old Strauss had fallen under the thrall of a much older composer and violinist, Alexander Ritter, who made it his task to convert his young friend to the “music of the future” of Liszt and Wagner. Strauss’s first and still somewhat tentative compositional response was the pictorial symphonic fantasy Aus Italien (“From Italy”), which, at least to some degree, was still tied to the old tradition. But the next work, Don Juan, completed September 1888—a work of astonishing verve, assurance, and originality—represented total commitment to the “future.” Even allowing for the interruption to complete Guntram, the series of tone poems was continued at high speed and with the most vigorous invention: Death and Transfiguration in 1889, the revised Macbeth in 1891, Till Eulenspiegel in 1895, Thus Spoke Zarathustra in 1896, Don Quixote in 1897, and Ein Heldenleben in 1898. Two postscripts followed at some distance—the Symphonia domestica in 1904 and the Alpine Symphony in 1914—but the period of intense concentration on the

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 27 genre comes to an end with Heldenleben. “Ein Heldenleben” is usually translated as “A Hero’s Life”; argument, however, could be made that “A Heroic Life” comes even closer. But who is the hero? Two details point to Strauss himself. Though generally irritated by requests for “programs” and insistent that music’s business was to say only those things that music could uniquely say, Strauss authorized his old school friend Friedrich Rösch and the critic Wilhelm Klatte to supply, for the premiere on March 3, 1899, a detailed scenario in six sections. One of these is called “The Hero’s Companion” and it is, by the composer’s admission to Romain Rolland and others, a portrait of Pauline Strauss. Another is called “The Hero’s Works of Peace” and is woven from quotations of earlier Strauss scores. The first large section of the work, swaggering, sweet, impassioned, grandiloquent, sumptuously scored, depicts The Hero in his changing aspects and moods. Next comes the scene of The Hero’s Adversaries, the grudgers and the fault-finders, including drastically different music—sharp, prickly, disjunct, dissonant. Strauss was convinced that some of the Berlin critics recognized themselves as the target of this portrait and the composer as The Hero. The Hero’s theme, on its next appearance, is much darkened. One violin detaches itself from the others to unfold the vivid portrait of Pauline. Gay, flippant, tender, a little sentimental, exuberantly playful, gracious, emotional, angry, nagging, loving—these are some of the directions to the violinist in this scene of The Hero’s Companion. The single violin is again absorbed into the orchestral mass and we hear love music, as lush as only Strauss could make it. Briefly the adversaries disturb the idyll, but their cackling is heard as though from a distance. But the hero must go into battle to vanquish them. Trumpets summon him, introducing that immense canvas, The Hero’s Battlefield. The hero returns in triumph, or, in musical terms, there is a recapitulation as clear and as formal as the most ardent classicist could wish. The music becomes more quiet and we have arrived at one of the score’s most remarkable sections, The Hero’s Works of Peace. Here Strauss weaves a texture both dense and delicate as he combines music from Don Juan, Also sprach Zarathustra, Death and Transfiguration, Don Quixote, Macbeth, and his song Traum durch die Dämmer- ung (“Dreaming at Twilight”). This episode is one of Strauss’s orchestral miracles, richly blended, yet a constantly astonishing, shifting kaleidoscopic play of lumines- cent textures and colors. Even now, the adversaries are not silenced. The hero rages, but his passion gives way to renunciation (this is indeed very unlike the real Richard Strauss). The final section is called The Hero’s Escape from the World and Fulfillment. The hero retires— to Switzerland, on the evidence of the English horn—and, after final recollections of his battling and loving self, the music subsides in profound serenity. This, in the original version, was undisturbed through the pianissimo close with violins, timpani, and a single horn. But Strauss reconsidered, and in the few days between Christmas 1898 and the New Year he composed the present ending with its rich mystery and fascinating ambiguity, an ending of marvelously individual sonority, and one that at least touches fortissimo.

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

2828 Guest Artist Kristine Opolais Kristine Opolais is one of the most sought-after sopranos on the international scene today, appearing regularly at the Metropolitan Opera, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, and the Royal Opera House, Covent Garden, working with such conductors as Daniel Barenboim, Antonio Pappano, Daniel Harding, Louis Langrée, Andris Nelsons, Gianandrea Noseda, Marco Armiliato, Marc Minkowski, Fabio Luisi, Kirill Petrenko, Alain Altinoglu, and Kazushi Ono. In the 2015-16 season Ms. Opolais returns to the Metropolitan Opera for a much-anticipated new production of Puccini’s Manon Lescaut, singing the title role alongside Jonas Kaufmann. Manon Lescaut has become a signature role for the soprano, following her 2014 appearances in two new productions of the opera, at the Royal Opera House and Bayerische Staatsoper. In spring 2016 she also appears at the Metropolitan Opera as Cio- Cio San in Madama Butterfly; both this opera and Manon Lescaut will be broadcast to cinemas as part of the Met’s “Live in HD” series. Ms. Opolais has maintained a strong relationship with the Metropolitan Opera since her 2013 debut there as Magda in La Rondine. In April 2014 she made Met history, when, within eighteen hours, she made house debuts in two roles, giving an acclaimed, scheduled performance as Cio-Cio San in Madama Butterfly, then stepping in as Mimì for a matinee performance of La bohème the very next day—a performance broadcast to cinemas around the world. Continuing her association with the Bayerische Staatsoper, she makes two role debuts there in 2015-16: as Margherita and Helen of Troy in Boito’s Mefistofele and as Rachel in Halévy’s La Juive. Since her 2010 Bayerische Staatsoper debut, when she stepped in to sing the title role in Dvoˇrák’s Rusalka, she has appeared there as Cio-Cio San, Amelia in Simon Boccanegra, Vitellia in La clemenza di Tito, and Tatiana in Eugene Onegin. Her collaboration with the Royal Opera House, Covent Garden, has featured the Puccini roles of Cio-Cio San, Floria Tosca, and Manon Lescaut. She has also appeared at Opernhaus Zürich in the title role of Jen˚ufa and recently made her house debut at Opéra National de Paris Bastille. Recent concert performances have included appearances at the Salzburg Festival, Tanglewood, the BBC Proms, and with the Symphonie- orchester des Bayerischen Rundfunks, WDR Sinfonieorchester Köln, Tonhalle Orchester Zürich, Stockholm Philharmonic, and Filarmonica della Scala. Highlights of 2015-16 include her debut with the Concertgebouw Orchestra under Semyon Bychkov and concerts with the Boston Symphony Orchestra and Andris Nelsons on their 2016 European tour, to include her Musikverein debut. Recent DVD recordings have included Deutsche Staatsoper’s production of Prokofiev’s The Gambler, in which she sang Polina under the baton of Daniel Barenboim; Rusalka from the Bayerische Staatsoper production, Don Giovanni from the Aix-en-Provence Festival, and Eugene Onegin from Valencia’s Palau de les Arts Reina Sofia. A recent Orfeo International CD recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica was nominated for a BBC Music Magazine Award, and her latest release is Simon Boccanegra with the Vienna Symphony on Decca. Kristine Opolais made her Boston Symphony Orchestra debut in July 2013 at Tanglewood, in a performance of Verdi’s Requiem. She made her first Symphony Hall appearance with the orchestra in September 2014, as a soloist in Andris Nelsons’ inaugural concert as the BSO’s music director, a concert subsequently telecast in the PBS series “Great Performances.”

TANGLEWOODWEEK 7 GUESTARTIST 29 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, August 16, 2:30pm Sponsored by COUNTRY CURTAINS, THE RED LION INN, and BLANTYRE

ASHER FISCH conducting TANGLEWOOD MUSIC CENTER ORCHESTRA BOSTON SYMPHONY ORCHESTRA

COPLAND “Symphonic Ode”

TANGLEWOOD MUSIC CENTER ORCHESTRA

{Intermission}

30 BEETHOVEN Symphony No. 9 in D minor, Opus 125 Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I—Presto—Tempo I Adagio molto e cantabile—Andante moderato—Tempo I— Andante—Adagio Presto—Allegro ma non troppo—Vivace—Adagio cantabile— Allegro moderato—Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alla Marcia—Andante maestoso— Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto—Prestissimo BOSTON SYMPHONY ORCHESTRA JULIANNA DI GIACOMO, soprano RENÉE TATUM, mezzo-soprano PAUL GROVES, tenor JOHN RELYEA, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation are on pages 38-39.

Today’s Boston Symphony Orchestra concert marks John Oliver’s final appearance as Conductor of the Tanglewood Festival Chorus, which he founded in 1970. For a biography of John Oliver, please see pages 7-8 of this program book.

The performance of Beethoven’s Symphony No. 9 is supported by a gift from Judith and Stewart Colton.

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

TANGLEWOODWEEK 7 SUNDAYPROGRAM 31 Sunday, August 16, 2015 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre The performance on Sunday afternoon is sponsored by Tanglewood Business Partners Country Curtains, The Red Lion Inn, and Blantyre. The Red Lion Inn, Country Curtains, Blantyre, and the Fitzpatrick family have been generous support- ers of the Boston Symphony Orchestra and Tanglewood for more than forty years. Country Curtains was founded by the late BSO Life Trustee Jane Fitzpatrick and her late husband, Jack, in 1956. The company first operated out of their home. In 1969, Jack and Jane purchased and restored The Red Lion Inn in Stockbridge and moved the business there. The couple’s two daughters, BSO Life Trustee Nancy Fitzpatrick and Ann Fitzpatrick Brown, continue the family legacy. As Great Benefactors, Jane and Jack generously supported numerous capital projects, endowment funds, and education initiatives, including the Tanglewood Forever Fund, Seiji Ozawa Hall, Tanglewood Music Center, and the Cohen Wing, among other support. Jane was elected to the Board of Overseers in 1978 and the Board of Trustees in 1982. She served as Vice-Chairman of the Board of Trustees from 1989 to 1996, at which time she was elevated to Life Trustee. Nancy Fitzpatrick has continued her parents’ dedication and commitment to the BSO. She was elected to the Board of Overseers in 1995 and the Board of Trustees in 1998. Nancy was elevated to Life Trustee in 2013, and serves as co-chair of the Tanglewood Business Partners Committee. Nancy and her husband, Lincoln Russell, have served on numerous Tanglewood gala committees, and were co-chairs of 2009 Opening Night at Tanglewood. Nancy and Lincoln have generously supported many BSO initiatives, and are members of the Koussevitzky Society at the Patron level. Nancy’s stepdaughter, Sarah Eustis, who is managing director of The Red Lion Inn, was elected a BSO Overseer in 2014. Ann Fitzpatrick Brown, in the spirit of the Fitzpatrick family’s generosity, continues to support Tanglewood and is a member of the Koussevitzky Society at the Patron level as well. Ann has also hosted many Tanglewood fundraising events at the historic and beautiful Blantyre Estate, including the 2011 and 2014 Wine Auction Dinners. Our Berkshire community and the BSO community mourn the loss of Jane and Jack, whose leadership, generosity, and jovial spirits will remain an inspiration to us all. Walter H. Scott

NOTES ON THE PROGRAM

Aaron Copland (1900-1990) “Symphonic Ode” First performance of original version (composed for the BSO’s 50th anniversary): February 19, 1932, Symphony Hall, Boston Symphony Orchestra, Serge Koussevitzky cond. First performance of revised version (revised for the BSO’s 75th anniversary): February 3, 1956, BSO, Charles Munch cond. First Tanglewood performance: August 5, 1956, Charles Munch cond. Most recent Tanglewood performance: July 28, 1991, Leonard Slatkin cond. Sometime in 1927 Copland conceived some thematic ideas for a new orchestral work. He assembled these into some fragments, which he played over on the piano for Roger Sessions the following spring before leaving New York for Los Angeles, where he was to play his Piano Concerto in a summer concert at the Hollywood Bowl. En route, Copland stopped for a time in Santa Fe, New Mexico, then still a “sleepy old Spanish town” (in the composer’s words), where he rented a room with a piano for a period of concentrated composition before going on to California. RCA Victor had announced a competition for a new orchestral work with a $25,000 first prize, and Copland deter- mined to have his new work ready in time to enter. In the end, he was unable to meet the deadline (he submitted instead his Dance Symphony). The problem with the new work was that he was aiming to write music of a quite different style from the somewhat jazzy Piano Concerto. The original plan for the Symphonic Ode called for an orchestra of the size normally associated with Mahler. (Even the present revised, smaller version requires very substantial forces.) In 1929, with the Ode still unfinished, Copland spent the summer in France, partly because he thought it might be useful to be near Nadia Boulanger while working on his new piece. She was not only his teacher, but had become a close friend and a valued artistic sounding board for his new works. By this time, Copland had received a commission from Serge Koussevitzky to write a work for the 50th anniversary of the Boston Symphony, and such an occasion seemed to be a perfect time for a relatively big piece like the Symphonic Ode—especially after Koussevitzky assured Copland that he could have as many brass and percussion instruments as he desired. I had been striving for something grand and dramatic in this work. Composed over a two-year span that was a transitional period for me, the Ode is a transitional work—a summing up as well as a looking ahead. Perhaps this was my way of announcing, about the time of my thirtieth birthday, that I was grown up. The Ode resembles me at the time, full of ideas and ideals, introspective and serious, but still showing touches of youthful jazz days, reflections of a Jewish heritage, remnants of Paris (Boulanger’s la grande ligne), influences of Mahler (the orchestration) and Stravinsky (motor rhythms). The completed work proved to be difficult: the fast portions were filled with constant, rapid, irregular changes of meter, and Koussevitzky insisted that the piece could not be played as written. Copland hurried to Boston, where Koussevitzky turned a rehearsal over to him and sat in the hall to listen. Copland realized he had to rewrite the fast parts of the piece, not changing the sound of a single note, but writing the rhythms out in 4/4 time rather than in complicated changes of 3/4, 7/8, 5/8, and so on. Koussevitzky gratefully accepted his suggestion to delay the piece until the following season, even though it meant that the piece was described in the press as being so modern that even the Boston Symphony Orchestra could not play it. And

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 33 when it was finally heard, audiences found it entirely too dissonant for their taste, while the critics were divided. In the next fifteen years, the Symphonic Ode had only two further performances, one in Mexico under the direction of Copland’s close friend Carlos Chavez, the other by the Juilliard Orchestra under Thor Johnson. Twenty-five years after the original composition, the Boston Symphony again asked Copland—by then a national figure widely regarded as our greatest living composer, and one of the most popular on the strength of his ballet scores—to write a work for the orchestra’s 75th anniversary. Copland suggested preparing a new version of the work that Koussevitzky had introduced a quarter-century earlier. The overall shape and character remained unaltered, but, for practical reasons, the size of the orchestra was reduced and further notational changes were made of the difficult rhythms. Changes in the revision were as follows: certain pages that seemed excessively bony were filled out with fuller textures; the opening and closing sections originally written quite high for brass and strings were low- ered; completely new measures were substituted only at the start of the 7/4 section leading to the ending; three pages that had been cut from the end of the slow section at the time of the premiere were restored. To this day, the Symphonic Ode remains a stepchild of the composer’s success. Probably no major Copland score has had fewer performances. It is, without question, no piece for “easy listening,” but rather a tough, flinty score, clearly anticipating the granitic power of the Piano Variations and the complexities of the Short Symphony, both of which were soon to follow. At the same time it recalls here and there the jazzy characteristics of Music for the Theatre and the Piano Concerto. The piece is grandly rhetorical, essentially a symphony in one movement. In an interview with Philip Ramey for the liner notes of his own recorded performance of the Ode, Copland described its overall shape as falling into five sections, ABCBD, in which B is the fast and jazzy part. The opening section is massive and soaring, and its material returns in a more lyrical manner at C. The repetition of B is not literal, and the closing section, D, returns to the mood of the opening, but combines material from both A and B. In 1932, H.T. Parker, music critic of the Boston Transcript, described the Ode as sounding “leanly, flintily, austerely to ears that prefer music cushioned.” That description remains accurate enough today, though we are now more easily able to hear antici- pations of the later, popular Copland within this rugged music.

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

34 Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125 First performance: May 7, 1824, Kärntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 24, 2014, Charles Dutoit cond.; Nicole Cabell, Tamara Mumford, Noah Stewart, and John Relyea, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Beethoven’s Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schiller’s “Ode to Joy”; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the “Heiligenstadt Testament”: “For so long now the heartfelt echo of true joy has been a stranger to me!” Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, brought him to the edge of madness. The idea of setting Schiller’s Ode to music was actually not a conception of Beetho- ven’s melancholy last decade. The poem, written in 1785 and embodying the revolu- tionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller’s utopian verses were the young Beethoven’s music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller’s fire-drunk hymn to friendship, marriage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the “Joy” theme, so in the finale it would be unveiled like a revelation. The dramatic progress of the Ninth is usually described as “darkness to light.” Scholar Maynard Solomon refines that idea into “an extended metaphor of a quest for Elysium.” But it’s a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme returns) appears not in the original D minor but in a strange

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 35 D major that erupts out of calm like a scream, sounding not triumphant but some- how frightening. As coda there’s a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven’s most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you’d whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven’s late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfold- ing in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the “Joy” theme. But why does this celebration of joy open with a dissonant shriek that Richard Wagner called the “terror fanfare,” shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.)This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompa- niments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: “Oh friends, not these sounds! Rather let’s strike up something more agreeable and joyful.” Soon the chorus is crying “Freude!”—“Joy!”—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching mili- tary march heroic in context (“Joyfully, like a hero toward victory”) but light unto satiric in tone, in a style the Viennese called “Turkish.” That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant (“Be embraced, you millions! Here’s a kiss for all the world!”). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead (“Seek him beyond the stars”), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale’s episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signifying that the world he’s embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path? In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves.

36 One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven’s Mass the chorus is declaiming “Dona nobis pacem,” the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven’s answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written “Finished with the help of God,” Beethoven wrote under it: “Man, help yourself!” In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller’s exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an unprecedented way for a composer, he stepped into history with a great ceremonial work that doesn’t simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you’re looking for the universal, here it is. One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale’s Joy theme, prefigured in bits and pieces from the beginning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? “Be embraced, you millions! This kiss for all the world!” run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and terror and simplicity and complexity, is itself Beethoven’s embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It’s the composer talking to everybody, to history. There’s something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

JAN SWAFFORD Jan Swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, The Vintage Guide to Classical Music, and, published last summer, Beethoven: Anguish and Triumph. He is currently working on a biography of Mozart.

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 37 Text to the ﬁnale of Beethoven’s Ninth Symphony, based on Schiller’s ode, “To Joy”

O Freunde, nicht diese Töne! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer’s nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brüsten der Natur, At Nature’s breasts. Alle Guten, alle Bösen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Küsse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, geprüft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels prächt’gen Across the glorious landscape of the Plan, heavens, Laufet, Brüder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, BSO Archives

38 Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Über Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schöner Götterfunken! Joy, beauteous, godly spark!

TANGLEWOODWEEK 7 TEXTANDTRANSLATION 39 Guest Artists Asher Fisch A seasoned conductor in both the operatic and symphonic worlds, Asher Fisch is especially noted for the core German and Italian repertoire (in particular Wagner, Brahms, Strauss, and Verdi), also conducts repertoire from Gluck to contemporary works, and serves as an advocate of such composers as Avner Dorman and others. In 2014 he became principal conductor and artistic advisor of the West Australian Symphony Orchestra (WASO) in Perth. Former posts include principal guest conductor of the Seattle Opera (2007-13), where he concluded his tenure conducting its quadrennial production of Wagner’s Ring cycle in summer 2013, as well as music director of New Israeli Opera (1998-2008) and the Wiener Volksoper (1995-2000). The 2014-15 season brought guest conducting engagements with the Boston, Atlanta, and Milwaukee symphony orchestras, the National Orchestral Institute, and Düsseldorf Symphoniker. He returned to Lyric Opera of Chicago for Il trovatore in David McVicar’s production, and Un ballo in maschera at Staatsoper Hamburg. Mr. Fisch has a long association with the Bayerische Staatsoper in Munich, where this season he led La forza del destino, Falstaff, Don Carlo, Tosca, L’elisir d’amore, and Elektra. With WASO in 2015 he conducts a range of classical and contemporary repertoire, including the world premiere of James Ledger’s Concerto for Orchestra, and several of Brahms’s concertos and symphonies over the course of two weekends as part of WASO’s August 2015 Brahms Festival. Mr. Fisch began his tenure there with a Mozart-Strauss-Wagner program (in which he was also soloist in Mozart’s D minor piano concerto, K.466) that garnered a 2014 Helpmann nomination for Best Symphony Orchestra Concert, as well as a complete Beethoven symphony cycle. Born in Israel, Asher Fisch began his conducting career as Daniel Barenboim’s assistant and Kappellmeister at the Berlin Staatsoper. Since his United States debut at Los Angeles Opera in 1995, he has conducted at the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, and San Francisco Opera. He has also conducted at all the major German and Austrian opera houses, as well as Milan’s Teatro alla Scala, the Paris Opera, and the Royal Opera House, Covent Garden. In North America he has conducted the symphony orchestras of Boston, Chicago, Cleveland, New York, Philadelphia, Los Angeles, San Francisco, Dallas, Seattle, Atlanta, Cincinnati, Houston, St. Louis, Montreal, Toronto, and the National Symphony in Washington, D.C. In Europe he has led the Berlin Philharmonic, Munich Philharmonic, Staatskapelle Dresden, London Symphony, Leipzig’s Gewandhaus Orchestra, and Orchestre National de France, among others. His Australian debut came in 2005 at the State Opera of South Australia with Wagner’s Ring cycle, which won ten Helpmann Awards, Australia’s premier music prize. A live recording of this production was subsequently released to rave reviews. Also an accomplished pianist, Mr. Fisch released his first solo disc, Wagner piano transcriptions, in 2012 (Melba). He often conducts from the keyboard, and also participates in chamber music and vocal recitals. Stu Rosner

40 Julianna Di Giacomo With her recent debuts in several top international opera houses, soprano Julianna Di Giacomo has earned a reputation as one of today’s most exciting young sopranos. In the 2015-16 season she makes several debuts—at the Bayerische Staatsoper as Leonora in Il trovatore, at Teatro La Fenice as Lina in Stiffelio, and at Teatro de la Maestranza as Desdemona in Otello—and will also appear with the San Antonio Symphony in concert performances of Il trovatore. Ms. Di Giacomo made her Metropolitan Opera debut as Clotilde in Norma and was subsequently re- engaged for Lina in Stiffelio and Leonora in Il trovatore. Other recent North American engagements have included Amelia in Un ballo in maschera at San Francisco Opera; both Nedda in I pagliacci and Verdi’s Requiem under Gustavo Dudamel at the Hollywood Bowl; performances of Mahler’s Symphony No. 8 with Dudamel and the Los Angeles Philharmonic in both Los Angeles and Caracas, also broadcast live to movie theaters in North and South America; Beethoven’s Symphony No. 9 and excerpts from Don Giovanni with the New York Philharmonic, Margherita/Elena in Mefistofele with the Collegiate Chorale at Carnegie Hall, Donna Anna in Don Giovanni at Los Angeles Opera, and Il trovatore and Mathilde in Guillaume Tell at the Caramoor International Music Festival. Ms. Di Giacomo was a featured soloist in Lincoln Center’s Puccini 150th Birthday Celebration gala concert, and recently made her Cincinnati May Festival debut in Elijah conducted by James Conlon. She also recently made her South American debut at the Teatro Municipal de Santiago as Leonora in Il trovatore. In Europe her Vienna Philharmonic debut was in Beethoven’s Symphony No. 9 under Dudamel. Other European engagements have included Lucrezia in I due Foscari at La Scala, the title role in Norma at Teatro dell’Opera di Roma in the famed Terme di Caracalla, Otello at the Petruzelli e Teatri di Bari and the Teatro Massimo in Palermo, Valentine in Les Huguenots, Elena in I vespri siciliani, and the title role in Suor Angelica at Madrid’s Teatro Real; Les Roys d’Ys at Opéra National Montpellier, Il trovatore at Teatre Principal de Mao in Minorca, and Il trovatore, Otello, and Un ballo in maschera with Zubin Mehta and the Israel Philharmonic. In concert she has sung Verdi’s Requiem with the Deutsches Symphonie-Orchester Berlin, with Daniele Gatti and the Orchestre National de France at the Théâtre des Champs-Élysées, at the Teatro Comunale di Firenze with Zubin Mehta, and at the Teatro Massimo. A native of Santa Monica, California, Julianna Di Giacomo is a graduate of the San Francisco Opera’s prestigious Merola Program and the Santa Fe Opera’s Apprentice Program. She makes her Boston Symphony debut with today’s performance of Beethoven’s Ninth Symphony.

Renée Tatum Mezzo-soprano Renée Tatum opened the 2014-15 season with a return to the Metro- politan Opera as the Second Lady in Julie Taymor’s production of The Magic Flute led by Adám Fischer. She also returned to Houston Grand Opera both as the Third Lady in The Magic Flute under Robert Spano and as Grimgerde in a new production of Die Walküre conducted by Patrick Summers. In 2013-14 the California native made her Houston Grand Opera debut as Wellgunde in Das Rheingold led by Summers, and made role debuts as Suzuki in Madama Butterfly with Chautauqua Opera and as Rosina in Il barbiere di Siviglia with Opera Las Vegas. Concert appearances included her Boston Symphony Orchestra debut in Strauss’s Salome with Andris Nelsons, Mozart’s Requiem with Daniel Stewart and the Santa Cruz Symphony, and Beethoven’s Ninth Symphony with the Orange County Philharmonic Society under Daniel Wachs. A recent alumna of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Tatum has sung in numerous Met productions, including The Magic Flute, Rusalka, Die Frau ohne

TANGLEWOODWEEK 7 GUESTARTISTS 41 Schatten, Otello, Zandonai’s Francesca da Rimini, Nabucco, and Robert Lepage’s production of Der Ring des Nibelungen; she made her Metropolitan Opera debut in the 2010-11 season as Inez in Il trovatore. Other highlights of recent seasons include Háta in Smetana’s The Bartered Bride, with James Levine conducting a new production by Stephen Wadsworth (a collaboration between the Metropolitan Opera and the Juilliard School), and the roles of Flosshilde and Grimgerde in San Francisco Opera’s Der Ring des Nibelungen under Donald Runnicles. Other performances include La Haine in Gluck’s Armide in a Met-Juilliard co-production and Medea in Handel’s Teseo with Chicago Opera Theater. As a member of the Adler Fellowship program, she has appeared with San Francisco Opera as Inez in Il trovatore, Annina in La traviata, and Emilia in Otello. She has sung the Third Lady in The Magic Flute with both Santa Fe Opera and San Francisco Opera, Amando in Ligeti’s Le Grand Macabre with the New York Philharmonic and Alan Gilbert, and the Secretary in Menotti’s The Consul with Chautauqua Opera. Renée Tatum is a winner of the 2011 Gerda Lissner Foundation Competition, a finalist of the 2011 George London Foundation Competition, 2010 Grand Prize Winner of the Licia Albanese Puccini Foundation Competition, winner of the Opera Index Competition and the Jensen Foundation Award from Chautauqua Opera, and a two-time recipient of the Richard F. Gold Career Grant. A regional finalist in the Metropolitan Opera National Council Auditions, she holds degrees from the Juilliard School and the Manhattan School of Music.

Paul Groves American tenor Paul Groves performs on the stages of the world’s leading opera houses and concert halls, with the world’s leading orchestras and conductors. In the 2014-15 season he sang the title role in Wagner’s Lohengrin for the first time, with the Norwegian National Opera in Oslo, later returning to the Aix-en-Provence Festival for staged performances of Stravinsky’s Perséphone and to the Vienna Staatsoper as Florestan in Fidelio. Concert appearances took him to the Cleve- land Orchestra, St. Louis Symphony, Los Angeles Philharmonic, and Zurich’s Tonhalle Orchestra. Highlights of recent seasons include his first performances in the title role of Wagner’s Parsifal with Lyric Opera of Chicago, Admète in Gluck’s Alceste at Madrid’s Teatro Real, Nicias in Massenet’s Thaïs with Los Angeles Opera, Pylade in Iphigénie en Aulide at Vienna’s Theater an der Wien, and Don Ottavio in Don Giovanni at Teatro Real and Aix-en-Provence. A winner of the Met’s National Council Auditions and a graduate of the Met’s Young Artist Development Program, he made his Metropolitan Opera debut in 1992 as the Steers- man in The Flying Dutchman and has since appeared there in numerous productions. He has appeared in multiple roles with San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Washington Opera, and Santa Fe Opera. Mr. Groves recently appeared in his home state of Louisiana for his first performances in the title role of Gounod’s Faust and Les Contes d’Hoffmann, and for Un ballo in maschera. In Europe he has sung at La Scala, the Théâtre du Châtelet in Paris, Opéra de Paris, Royal Opera– Covent Garden, Vienna Staatsoper, Opera National du Rhin, Frankfurt Oper, Deutsche Oper Berlin, Netherlands Opera, the Bayerische Staatsoper in Munich, and the Salzburg Festival. He made his debut in the title role of Stravinsky’s Oedipus Rex in Japan under Charles Dutoit. In demand for concerts with the world’s leading orchestras and conductors, he made his Boston Symphony Orchestra debut in March 2003 in the world premiere of John Harbison’s Requiem conducted by Bernard Haitink, returning for BSO performances of Wagner’s Der fliegende Holländer, Tippett’s A Child of Our Time, Schoenberg’s Gurrelieder, and Berlioz’s La Damnation de Faust. Abroad, he has sung with the Munich Philharmonic, Bayerische Rundfunk, Berlin Philharmonic, BBC

42 Symphony, London Philharmonic, the Orchestre de Paris, and the Orchestre National de la Radio France, among many others. Recital appearances have taken him to Alice Tully Hall, Lincoln Center’s “Art of the Vocal Recital” series, La Scala, Amsterdam’s Concertgebouw, Théatre de la Monnaie in Brussels, and London’s Wigmore Hall. Mr. Groves has made many DVD and CD recordings, for Deutsche Grammophon, Naxos, Sony Classics, EMI Classics, Teldec, Telarc, and Philips. In 2004 he was invited to perform at the prestigious Kennedy Center Honors in front of a live national television audience.

John Relyea John Relyea continues to distinguish himself as one of today’s finest basses, appearing at such celebrated opera houses as the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, the Canadian Opera Company, Royal Opera–Covent Garden, Paris Opera, Bayerische Staatsoper, Vienna State Opera, Theater an der Wien, and the Mariinsky Theater. His roles include the title roles in Attila, Le nozze di Figaro, Bluebeard’s Castle, Don Quichotte, and Aleko; Zaccaria in Nabucco, Bertram in Roberto le Diable, Pagano in I lombardi, Raimondo in Lucia di Lammermoor, Colline in La bohème, Don Alfonso in Lucrezia Borgia, Don Basilio in Il barbiere di Siviglia, Alidoro in La Cenerentola, Giorgio in I puritani, Banquo in Macbeth, Garibaldo in Rodelinda, Méphistophélès in both Faust and La Damnation de Faust, the Four Villains in Les Contes d’Hoffmann, Escamillo in Carmen, Marke in Tristan und Isolde, Caspar in Der Freischütz, Nick Shadow in The Rake’s Progress, Collatinus in The Rape of Lucretia, the Water Sprite in Rusalka, and King René in Iolante. In concert he appears regularly with major orchestras and conductors on both sides of the Atlantic. Festival appearances have included Tanglewood, Ravinia, Blossom, the Cincinnati May Festival, Vail, Lanaudière, Salzburg, Edinburgh, Lucerne, Mostly Mozart, and the BBC Proms. In recital he has been presented at New York’s Weill Hall and the Metropolitan Museum of Art, London’s Wigmore Hall, the Uni- versity Musical Society in Ann Arbor, and the University of Chicago Presents series. Mr. Relyea’s recordings include Verdi’s Requiem (LSO Live), Idomeneo with Sir Charles Mackerras and the Scottish Chamber Orchestra (EMI), Mahler’s Symphony No. 8 with Sir Simon Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Metropolitan Opera’s DVD releases of Don Giovanni, I puritani, and Die Meistersinger von Nürnberg (Deutsche Grammophon), and Macbeth (Metropolitan Opera HD Live Series). This past season Mr. Relyea returned to Lyric Opera of Chicago for Anna Bolena and Tannhäuser, to Canadian Opera for Bluebeard’s Castle, and to the Gran Teatre del Liceu for Il barbiere di Siviglia. The coming season brings his Teatro alla Scala debut as Bluebeard, a return to Covent Garden for Nabucco, and concerts with the Philadelphia Orchestra and Toronto Symphony Orchestra. Mr. Relyea is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. He has appeared on numerous occasions with the BSO since his Tanglewood debut in 1999, singing music of Beetho- ven (including the Ninth Symphony at Tanglewood in 2006, 2010, 2012, 2013, and again last summer), Mahler (the Symphony No. 8 with James Levine conducting at Symphony Hall, Carnegie Hall, and Tanglewood), Mozart (the Great C minor Mass and the Requiem), Verdi (Requiem), and Walton (Belshazzar’s Feast).

To read about John Oliver and the Tanglewood Festival Chorus, see pp. 6-8.

TANGLEWOODWEEK 7 GUESTARTISTS 43 Tanglewood Festival Chorus John Oliver, Conductor (Beethoven Symphony No. 9, August 16, 2015)

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

Carol Amaya • Emily Anderson • Michele Bergonzi # • Aimée Birnbaum • Joy Emerson Brewer • Alison M. Burns • Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Lorenzee Cole # • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette * • Amal El-Shrafi • Sarah Evans • Mary A.V. Feldman # • Diana Gamet • Karen Ginsburg • Bonnie Gleason • Jean Grace • Beth Grzegorzewski • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Stephanie Janes • Polina Dimitrova Kehayova • Donna Kim • Barbara Abramoff Levy § • Suzanne Lis • Carol McKeen • Deirdre Michael • Kieran Murray • Kathleen O’Boyle • Jaylyn Olivo • Laura Stanfield Prichard • Livia M. Racz • Adi Rule • Melanie Salisbury # • Laura C. Sanscartier • Joan P. Sherman § • Erin M. Smith • Stephanie Steele • Nora Anne Watson

44 Mezzo-Sopranos

Virginia Bailey • Kristen S. Bell • Martha A. R. Bewick • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Sharon Brown • Janet L. Buecker • Barbara Cooper • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman * • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride * • Mara Goldberg • Lianne Goodwin • Rachel K. Hallenbeck # • Julie Hausmann • Diane Hoffman-Kim • Yuko Hori • Betty Jenkins • Susan L. Kendall • Eve Kornhauser • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Kristen McEntee • Louise-Marie Mennier • Louise Morrish • Tracy Elissa Nadolny • Fumiko Ohara # • Roslyn Pedlar # • Laurie R. Pessah • Kathleen Hunkele Schardin • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Brad W. Amidon # • John C. Barr # • Ryan Casperson • Stephen Chrzan • William Cutter • Tom Dinger • C Paul Dredge • Ron Efromson • Keith Erskine • Aidan Christopher Gent • Len Giambrone • Leon Grande • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Matthew Jaquith • James R. Kauffman # • Jordan King • Michael Lemire • Henry Lussier § • Daniel Mahoney • Ronald J. Martin • Mark Mulligan • David Norris * • Lukas Papenfusscline • John R. Papirio • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Francis Rogers • David Roth • Blake Siskavich • Arend Sluis • Peter L. Smith • Stephen E. Smith • Don P. Sturdy # • Adam Van der Sluis • Andrew Wang • Joseph Y. Wang Basses

Nathan Black • Daniel E. Brooks # • Stephen J. Buck • Matthew Collins • Christopher Davey • Arthur M. Dunlap • Jeff Foley • Mark Gianino • Jim Gordon • Jay S. Gregory # • Andrew Gribbin • Mark L. Haberman # • William Hurwitz • Nathan Kessel • David M. Kilroy • David Kyuman Kim • Will Koffel • Bruce Kozuma # • Carl Kraenzel • Timothy Lanagan # • Ryan M. Landry • Maxwell Levy • Daniel Lichtenfeld • David K. Lones # • Christopher T. Loschen • Martin F. Mahoney II • Lynd Matt • Devon Morin • Richard Oedel • Stephen H. Owades § • William Brian Parker • Donald R. Peck # • Michael Prichard # • Bradley Putnam • Sebastian Rémi • Peter Rothstein § • Jonathan Saxton • Karl Josef Schoellkopf # • Kenneth D. Silber • Alexander Teplansky • Stephen Tinkham • Thomas C. Wang # • Terry Ward #

TANGLEWOODWEEK 7 GUESTARTISTS 45

Tanglewood Music Center Orchestra (Copland, Symphonic Ode, August 16, 2015)

Violin I Meredith Bates Trumpet Lauren Densinger Lucas Button Rebecca Oliverio Ruda Lee Francesca McNeeley Daniel Henderson Tammy Wang Andrew Laven Austin Williams Tatiana Dimitriades ◊ Aaron Ludwig Ansel Norris Xiaofan Liu Nathan Watts Trombone Brendon Elliott Double Bass Erica Hudson Derek Hawkes Evan Hulbert Maya Cohon Dan DeVere Caleb Quillen Samuel Weiser Nina DeCesare Bass Trombone Robyn Quinnett August Ramos Christopher Bassett # James McFadden-Talbot Alanna Jones Heather Thomas Tuba Kevin Gobetz Tara Mueller Colby Parker Nash Tomey Inga Liu Timpani Hen-Shuo Steven Chang Flute Matthew Howard Harry Chang Johanna Gruskin Percussion Violin II Kelly Zimba Catherine Baker Michael Jarrett Peiming Lin Robert O’Brien Pyung-Kang Sharon Oh Piccolo Ethan Ahmad Annie Kuan-Yu Chen Catherine Baker Brian Maloney Ala Jojatu ◊ Blair Francis Kirk Etheridge # Benjamin Carson Petros Karapetyan Oboe Harp Amos C. Fayette William Welter II Caroline Bembia Chi Li Mary Kausek Emily Levin Nivedita Sarnath Alex Kinmonth Piano Natsuki Kumagai English Horn George Xiaoyuan Fu Paul Kim Nicholas Tisherman Hyewon Kim Personnel Manager Ivana Jasova Clarinet Ryland Bennett Sean Krissman Viola Somin Lee Librarians Yvonne Smith John Perkel Jack Mobley E-ﬂat Clarinet Nadia Myers (TMC Fellow) Meredith Treaster Daniel Parrette Rachel Vann (TMC Fellow) Kurt Tseng Bass Clarinet Celia Hatton Charlotte Malin Patrick Graham Aekyung Kim Bassoon # Guest musician Chensi Tang Catherine Chen ◊ BSO member Bryan Lew Ben Roidl-Ward Evan Perry J. Pearson Altizer Mengwen Zhao Erica Schwartz Contrabassoon Michael Lloyd Jones Toby Chan Cello Horn Ariana Nelson John Turman Justine Vervelle Jesse Clevenger Bing Wei Ryan Little Jakob Alfred Paul Nierenz Eileen Coyne Ethan Young Chris Jackson Benjamin Stoehr

TANGLEWOODWEEK 7 GUESTARTISTS 47 FELLOWS OF THE 2015 TANGLEWOOD MUSIC CENTER

Violin James McFadden-Talbot, Los Angeles, CA Benjamin Carson, Holliston, MA Steve and Nan Kay Fellowship Lost & Foundation Fellowship Tara Mueller, Fayetteville, AR Harry Chang, Taiwan Robert Baum and Elana Carroll Fellowship/ Daniel and Shirlee Cohen Freed Fellowship/ Dorothy and Montgomery Crane Scholarship Gerald Gelbloom Memorial Fellowship Pyung-Kang Sharon Oh, Changwon, South Hen-Shuo Steven Chang, Taitung City, Korea Taiwan Caroline Grosvenor Congdon Memorial Fitzpatrick Family Fellowship Fellowship Annie Kuan-Yu Chen, Kaohsiung, Taiwan Robyn Quinnett, Montserrat, British West Jerome Zipkin Fellowship Indies Maya Cohon, Seattle, WA Philip and Bernice Krupp Fellowship/ Dr. Stuart H. Brager Memorial Fellowship/ Dr. Lewis R. and Florence W. Lawrence Raymond Friedman Memorial Fellowship Tanglewood Fellowship Lauren Densinger, Edina, MN Nivedita Sarnath, Boston, MA Casty Family Fellowship/ Penny and Claudio Pincus Fellowship KMD Foundation Fellowship Heather Thomas, Northeast Harbor, ME Brendon Elliott, Newport News, VA Frederic and Juliette Brandi Fellowship Frelinghuysen Foundation Fellowship Tammy Wang, Monterey Park, CA Amos C. Fayette, Wading River, NY Darling Family Fellowship Carol and George Jacobstein Fellowship/ Samuel Weiser, Westport, CT Lucy Lowell Fellowship Lola and Edwin Jaffe Fellowship Erica Hudson, Glenview, IL John F. Cogan, Jr. and Mary L. Cornille Viola Fellowship Celia Hatton, Springﬁeld, VA Ivana Jasova, Backi Petrovac, Serbia George and Roberta Berry Fellowship Leslie and Stephen Jerome Fellowship Michael Lloyd Jones, Oklahoma City, OK Petros Karapetyan, Yerevan, Armenia Arlene and Donald Shapiro Fellowship Omar Del Carlo Fellowship Aekyung Kim, Hicksville, NY Hyewon Kim, Seoul, South Korea Morningstar Family Fellowship/ Anna Sternberg and Clara J. Marum Fellowship TMC Fellowship Paul Kim, Bellevue, WA Bryan Lew, Lehi, UT Haskell and Ina Gordon Fellowship Dr. John Knowles Fellowship Natsuki Kumagai, Chicago, IL Charlotte Malin, Westwood, MA Akiko Shiraki Dynner Memorial Fellowship Samuel Rapaporte, Jr. Family Foundation Jeongmin Lee, Seoul, South Korea Fellowship Max Winder Memorial Fellowship Jack Mobley, Grosse Ile, MI Ruda Lee, Seoul, South Korea Jane W. Bancroft Fellowship Ann and Gordon Getty Foundation Fellowship Evan Perry, Somerset, MA Chi Li, Taiwan Bill and Barbara Leith Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Erica Schwartz, Albany, NY Peiming Lin, Troy, MI Linda J.L. Becker Fellowship Carolyn and George R. Rowland Fellowship Yvonne Smith, Ames, IA in honor of Reverend Eleanor J. Panasevich Kingsbury Road Charitable Foundation Inga Liu, San Jose, CA Fellowship Northern California Fellowship Chensi Tang, Xuzhou City Jiangsu Xiaofan Liu, Xi’an Shaanxi Province, Province, China China Leo L. Beranek Fellowship/ The Edward Handelman Fund Fellowship Alfred E. Chase Fellowship

TMC Class Sponsors: The Clowes Fund • Estate of Harold G. Colt, Jr. • Estate of Margaret Lee Crofts • Charles E. Culpeper Foundation • Cora and Ted Ginsberg • Merrill Lynch Foundation • The Theodore Edson Parker Foundation • Surdna Foundation

48 Meredith Treaster, Santa Fe, NM Caleb Quillen, Houston, TX Morris A. Schapiro Fellowship BSAV/Carrie L. Peace Fellowship Kurt Tseng, Canton, MI August Ramos, Brookline, MA Juliet Esselborn Geier Memorial Fellowship Saville Ryan and Omar Del Carlo Fellowship Mengwen Zhao, Shen Yang, China Nash Tomey, Wynnewood, PA Dorothy and Charlie Jenkins Fellowship Rosamund Sturgis Brooks Memorial Fellowship Cello Flute Meredith Bates, Philadelphia, PA Catherine Baker, Houston, TX Jonathan and Ronnie Halpern Fellowship BSO Members’ Association Fellowship Lucas Button, Syracuse, NY Blair Francis, Columbia, SC Miriam Ann Kenner Memorial Scholarship/ Suzanne and Burt Rubin Fellowship Straus Family Fellowship Johanna Gruskin, Duluth, MN Andrew Laven, Wayland, MA Messinger Family Fellowship Bay Bank/BankBoston Fellowship Kelly Zimba, Bethel Park, PA Aaron Ludwig, St. Louis, MO Eduardo and Lina Plantilla Fellowship Stephen and Dorothy Weber Fellowship Sonia Mantell, Orland Park, IL Oboe Donald Law Fellowship Mary Kausek, Claremore, OK Francesca McNeeley, Port-au-Prince, Haiti Fernand Gillet Memorial Fellowship Mr. and Mrs. Jay Marks Fellowship Alex Kinmonth, Carlisle, MA Ariana Nelson, Seattle, WA Steinberg Fellowship/ Valerie and Allen Hyman Family Fellowship Augustus Thorndike Fellowship Jakob Alfred Paul Nierenz, Lüneburg, Nicholas Tisherman, Katonah, NY Germany Leaves of Grass Fellowship Michael and Sally Gordon Fellowship William Welter II, Crescent, IA David Olson, Ashford, CT Ushers/Programmers Instrumental Fellowship, in honor of Bob Rosenblatt Mary E. Brosnan Fellowship Benjamin Stoehr, Cincinnati, OH Clarinet Dr. Marshall N. Fulton Memorial Fellowship/ Sean Krissman, Los Angeles, CA Edward G. Shufro Fund Fellowship Sydelle and Lee Blatt Fellowship/ Justine Vervelle, Paris, France Loretta and Michael Kahn Foundation Fellowship Florence Gould Foundation Fellowship Somin Lee, Seoul, South Korea Nathan Watts, Oaklyn, NJ Ruth S. Morse Fellowship James and Caroline Taylor Fellowship Daniel Parrette, Cornwall, NY Bing Wei, Shandong, China Edwin and Elaine London Family Fellowship Mr. and Mrs. David B. Arnold, Jr. Fellowship/ Andrew Sandwick, Chicago, IL Sagner Family Fellowship Stanley Chapple Fellowship Ethan Young, Oswego, IL Mr. and Mrs. Allen Z. Kluchman Memorial Bass Clarinet Fellowship Patrick Graham, Ottawa, ON, Canada Harry and Mildred Remis Fellowship Double Bass Activities of the Double Bass Section are Bassoon sponsored by June Wu. Activities of the Bassoon Section are sponsored by Scott and Ellen Hand. Nina DeCesare, Baltimore, MD Pokross/Curhan/Wasserman Fellowship J. Pearson Altizer, San Antonio, TX Kevin Gobetz, Long Island, NY John and Elizabeth Loder Fellowship Robert and Luise Kleinberg Fellowship Toby Chan, Hong Kong Evan Hulbert, Tacoma, WA Robert G. McClellan, Jr. & IBM Matching George and Ginger Elvin Fellowship Grants Fellowship Alanna Jones, Auckland, New Zealand Catherine Chen, Greenwich, CT Jan Brett and Joe Hearne Fellowship Denis and Diana Osgood Tottenham Fellowship

TMC Class Co-Sponsors: Joan and Richard Barovick • Catherine and Paul Buttenwieser • Ranny Cooper and David Smith • Norma and Jerry Strassler

TANGLEWOODWEEK 7 GUESTARTISTS 49 Ben Roidl-Ward, Tacoma, WA Emily Levin, Centennial, CO Berkshire Holding Corporation Fellowship/ John and Susanne Grandin Fellowship Sherman Walt Memorial Fellowship Percussion Horn Ethan Ahmad, Katy, TX Jesse Clevenger, Winnetka, IL Daphne Brooks Prout Fellowship Joel And Susan Cartun Fellowship/ Matthew Howard, Los Angeles, CA Stephen and Persis Morris Fellowship William Randolph Hearst Foundation Fellowship Eileen Coyne, Chepachet, RI Michael Jarrett, Atlanta, GA Edward G. Shufro Fund Fellowship Helene R. and Norman L. Cahners Fellowship/ Chris Jackson, DeLand, FL KMD Foundation Fellowship Susan B. Kaplan Fellowship Brian Maloney, Catskill, NY Ryan Little, Herndon, VA Barbara Lee/Raymond E. Lee Foundation Edward I. and Carole J. Rudman Fellowship Fellowship Sarah Sutherland, Clinton Corners, NY Robert O’Brien, Fairﬁeld, CT Red Lion Inn/Blantyre Fellowship William E. Crofut Family Scholarship/ John Turman, Austin, TX Avedis Zildjian Fellowship, in honor of Vic Firth Tappan Dixey Brooks Memorial Fellowship Jiye Oh, Seoul, Korea Edward S. Brackett, Jr. Fellowship Trumpet Tristan Clarke, Alexandria, VA Instrumental Piano André M. Côme Memorial Fellowship Elisa D’Auria, Salerno, Italy Daniel Henderson, Perth, Western Felicia Montealegre Bernstein Fellowship/ Australia Adele and John Gray Memorial Fellowship Herzog-Simon Friendship Fellowship George Xiaoyuan Fu, Frederick, MD Ansel Norris, Madison, WI Paul Jacobs Memorial Fellowship Armando A. Ghitalla Fellowship Bob Logan, Kenosha, WI Rebecca Oliverio, Beltsville, MD Wilhelmina C. Sandwen Memorial Fellowship Brookline Youth Concerts Awards David McEvoy, Hampton, ON, Canada Committee Fellowship/ Mr. and Mrs. Joseph L. Cohen Fellowship Harry and Marion Dubbs Fellowship Austin Williams, Acworth, GA Vocal Piano Ushers and Programmers Fellowship in honor Jeremy Chan, Sydney, NSW, Australia of Phil Foster and Herb Messinger Marie Gillet Fellowship Rich Coburn, Nelson, BC, Canada Tenor Trombone Nat Cole Memorial Fellowship/ Activities of the Trombone Sections are sponsored R. Amory Thorndike Fellowship by Ronald and Karen Rettner. Pierre-André Doucet, Moncton, NB, Canada Dan DeVere, Orono, MN Peggy Rockefeller Memorial Fellowship T. Donald and Janet Eisenstein Fellowship/ Daniel Fung, Vancouver, BC, Canada Anonymous Fellowship Leonard Bernstein Fellowship Derek Hawkes, Plano, TX Rachael Kerr, Grand Rapids, MI William F.and Juliana W. Thompson Fellowship Billy Joel Keyboard Fellowship James Tobias, Wynnewood, PA Ethel Barber Eno Scholarship/ Soprano Arthur and Barbara Kravitz Fellowship Sophia Burgos, Chicago, IL Thelma Fisher Fellowship Bass Trombone Elizabeth Fischborn, Austin, TX Ryo Teratani, Osaka, Japan Hannah and Walter Shmerler Fellowship Starr Foundation Fellowship Lucy Fitz Gibbon, Davis, CA Tuba Eunice Alberts and Adelle Alberts Vocal Studies Colby Parker, Portland, OR Fellowship Mr. and Mrs. Daniel Pierce Fellowship/ Nola Richardson, Sydney, Australia Winkler/Drezner Fellowship Lia and William Poorvu Fellowship Suzanne Rigden, Dartmouth, NS, Canada Harp Miriam H. and S. Sidney Stoneman Fellowship Caroline Bembia, Merrick, NY Sarah Tuttle, Warren, ME Kathleen Hall Banks Fellowship/ Marion Callanan Memorial Fellowship/ Dr. Raymond and Hannah H. Schneider Bernice and Lizbeth Krupp Fellowship Fellowship

50 Alison Wahl, Rochester, NY Kate Moore, Sydney, NSW, Australia Ushers/Programmers Harry Stedman Vocal William and Mary Greve Foundation-John J. Fellowship Tommaney Memorial Fellowship Alyssa Wills, Westminster, CA Nathan Shields, Poughkeepsie, NY Luke B. Hancock Foundation Fellowship Patricia Plum Wylde Fellowship Mezzo-Soprano Library Zoe Band, Toronto, ON, Canada Nadia Myers, Brisbane, Queensland, Naomi and Philip Kruvant Family Fellowship Australia Kristin Gornstein, Long Beach, IN C. D. Jackson Fellowship Claire and Millard Pryor Fellowship Rachel Vann, Nashville, TN Quinn Middleman, Portland, OR Judy Gardiner Fellowship Athena and James Garivaltis Fellowship Paulina Villarreal, Torreón, Coahuila, Piano Technology Mexico Nathaniel Lane, North Attleboro, MA Richard F. Gold Memorial Scholarship/ Stephanie Morris Marryott & Franklin J. Tisch Foundation Scholarship Marryott Fellowship Micah Sundholm, Creswell, OR Tenor Miriam H. and S. Sidney Stoneman Fellowship Patrick Kilbride, Hawthorn Woods, IL Marillyn Zacharis Fellowship Publications Barrett Radziun, Cambridge, MN Zoë Madonna, Maplewood, NJ Pearl and Alvin Schottenfeld Fellowship/ Arno and Maria Maris Student Memorial Mary H. Smith Scholarship Fellowship Jason Weisinger, Baldwin, NY New Fromm Players Eugene Cook Scholarship/ Samantha Bennett, violin, Ames, IA Andrall and Joanne Pearson Scholarship Jesse Christeson, cello, Daytona Beach, FL Baritone Andrew Hsu, piano, Fremont, CA Simon Barrad, Long Beach, CA Martha Long, ﬂute, Chapel Hill, NC Dr. Richard M. Shiff Fellowship George Nickson, percussion, Port Saint Dimitri Katotakis, Toronto, ON, Canada Sarasota, FL Kandell Family Fellowship/ Samuel Rothstein, clarinet, Vernon Hills, IL Cynthia L. Spark Scholarship Jacob Shack, viola, Andover, MA Lifan Zhu, violin, Shanghai, China Bass-Baritone Davone Tines, Orlean, VA The New Fromm Players is an ensemble of Leah Jansizian Memorial Scholarship/ musicians drawn from recent TMC alumni who Everett and Margery Jassy Fellowship have distinguished themselves in the performance of new music. These artists will concentrate Conducting almost exclusively on this literature, performing Activities of the Conducting Class are spon- works by the TMC Composition Fellows and sored by the Seiji Ozawa Fellowship Fund. works demanding lengthy and intensive preparation during the Festival of Contemporary Marzena Diakun, Koszalin, Poland Music. The New Fromm Players ensemble has Maurice Abravanel Scholarship/ been funded by a generous grant from the Evelyn and Phil Spitalny Fellowship Fromm Music Foundation. Ruth Reinhardt, Saarbrücken, Germany Edward H. and Joyce Linde Fellowship Guest Conductor, Festival of Contemporary Music Composition Christian Reif, Rosenheim, Germany Ryan Chase, Albany, NY Leonard Bernstein Fellowship Conducting Seminar (August 5-16) Natalie Draper, Bethesda, MD Nathan Aspinall, Kerem Hasan, Kanat Otto Eckstein Family Fellowship Omarov, Jack Ridley Aaron Holloway-Nahum, Minneapolis, MN Elliott Carter Memorial Composer Fellowship The Conducting Seminar Program is sponsored by the Claudia and Steven Perles Family Foundation. Loren Loiacono, Stony Brook, NY Merwin Geffen, M.D. and Norman Solomon, M.D. Fellowship

TANGLEWOODWEEK 7 GUESTARTISTS 51 Maestro Circle

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

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

Society Giving at Tanglewood

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

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

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

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

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

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

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

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

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

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

TANGLEWOODWEEK 7 SOCIETYGIVINGATTANGLEWOOD 53 Dr. Donald and Phoebe Giddon • 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 • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. and Mrs. John Schwebel • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Ms. Shirley B. Barnes • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs • William E. Briggs and Donald Usher • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk •

54 Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Mr. and Mrs. Richard Jaffe • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Mr. and Mrs. Arthur J. Levey • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Evan Mallah • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (3)

TANGLEWOODWEEK 7 SOCIETYGIVINGATTANGLEWOOD 55 56 Tanglewood Annual Fund Loyalty Giving

The BSO gratefully acknowledges the following individuals for their loyalty as Tanglewood Annual Fund donors. The list below represents over 800 current Friends of Tanglewood who have contributed at the Tent Club level and above for five consecutive years. ‡ This symbol denotes a deceased donor.

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mrs. Lorraine A. Abraham • Mr. and Mrs. Martin Abrahams • Dr. and Dr. Norman Abramson • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Ms. Susan Adler • Howard J. Aibel • Mr. Gerald Aksen • Mr. Michael P. Albert • Mrs. Emily H. Alexander and Mr. John Alexander • Mr. and Mrs. Karla J. Alfano • Josephine and John Anderson • Ms. Ann H. Appelbaum and Rabbi Neal I. Borovitz • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Dr. and Mrs. Howard Arkans • Dr. and Mrs. Richard M. Arnold • Paul and Leni Aronson • Ms. Nancy S. Ashen • Mr. and Mrs. Stephen N. Ashman • Norm Atkin MD and Joan Schwartzman • Mr. and Mrs. David L. Auerbach • Liliana and Hillel Bachrach • Nancy and Richard Baer • Susan Baker and Michael Lynch • Ms. Margaret T. Ball and Dr. Peter A. Stace • Dr. and Mrs. Bert Ballin • Mrs. Ellen Banner • Dr. and Mrs. Benjamin R. Barber • Dr. and Mrs. Philip Baron • Ms. Sandra S. Baron and Mr. Gregory Diskant • Joan and Richard Barovick • The Barrington Foundation. Inc. • Stephen Barrow and Janis Manley • Ms. Harriet C. Barry • Timi and Gordon Bates • Robert and Elana Baum • Linda J.L. Becker • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. Jeffrey R. Bell • Mr. Hal Belodoff and Ms. Lisa Kuznick • Alan and Judith Benjamin • Dr. Burton and Susan ‡ Benjamin • Mr. and Mrs. Bob Berend • Cindy and David Berger • Helene Berger • Mr. and Mrs. Norman M. Berk • Mr. and Mrs. David Berke • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Mr. and Mrs. Ernst Berndt • Mr. and Mrs. Steven Bernstein • Roberta and George ‡ Berry • Phyllis and Paul Berz • Mr. and Mrs. Butch Bewick • Mr. and Mrs. Irving Bialer • Mr. and Mrs. James Bianco • Ms. Roberta Bianco and Dr. Robert Davenport • Linda and Tom Bielecki • Mr. Robert F. Bieniek and Ms. Rae Langsdale • Robert L. Bildner and Elisa Spungen Bildner • Mr. and Mrs. Samuel L. Billard • Mr. and Mrs. Edward Birnbaum • Louis and Bonnie Biskup • Hildi and Walter Black • Ms. Barbara A. Blackburn • Mr. and Mrs. Kenneth R. Blackman • Sydelle and Lee Blatt • Gail and Stanley Bleifer • Beatrice Bloch and Alan Sagner • Brad and Terrie Bloom • Eleanor and Ed Bloom • Mr. and Mrs. Martin Bloom • Drs. Judith and Martin Bloomfield • Birgit and Charles Blyth • Ms. Morene Bodner and Mr. David P. Carlisle • Mr. Edward Boesel • Betsy and Nathaniel Bohrer • Marlene and Dr. Stuart H. ‡ Brager • Jim and Linda Brandi • Jane Braus • Elaine and Charlie Brenner • Dr. Mark J. Brenner and Mrs. Jean K Brenner • Ms. Arline F. Breskin • Jan Brett and Joseph Hearne • Judy and Simeon Brinberg • Dr. and Mrs. Eric Brodheim • Sandra L. Brown • BSO Members’ Association • Drs. Andrea and Brad Buchbinder • Mr. and Mrs. Jon E. Budish • Rhea and Allan Bufferd • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Mr. Thomas R. Burgin • Mr. William M. Burstein • Catherine and Paul Buttenwieser • Mrs. Laura S. Butterfield • Mr. and Mrs. Frederick Byron • Mr. and Mrs. John Canning • David and Maria Carls • Susan and Joel Cartun • Charlene Castello • Ronald G. and Ronni J. Casty • Mr. James W. Catlett • The Cavanagh Family • Mrs. Michele M. Chandler • Mel and Iris Chasen • Antonia Chayes • Mr. John J. Chidsey • Lewis F. Clark, Jr. • John F. Cogan, Jr. and Mary L. Cornille • Herbert B. and Jayne Cohan • Mr. and Mrs. David M. Cohen • Mr. John and Mrs. Ann Cohen • Joseph and Phyllis Cohen • Mr. Leonard Cohen and Mrs. Ileen Smith Cohen • Peter C. Cohen • Mr. and Mrs. Lewis G. Cole • Dr. and Mrs. Malcolm H. Cole , Jr. • Ms. Barbara Kurshan Coleman • James and Tina Collias • Carol and Randy Collord • Judith and Stewart Colton • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Jill K. Conway • Mr. and Mrs. C. Jeffrey Cook • Mr. David Cook and Mrs. Annemarie Altman • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. and Mrs. Martin E. Corwin • Bob and Pam Costello • Mr. and Mrs. Herbert J. Coyne •

TANGLEWOODWEEK 7 TANGLEWOODANNUALFUNDLOYALTYGIVING 57 Mr. and Mrs. John C. Craig • Mr. and Mrs. Gary M. Crakes • Dr. Michael E. Cucka • Ann Denburg Cummis • Cynthia and Oliver Curme • Miriam and Thomas Curnin • Mrs. Catherine A. Daily • Ms. Susan E. Danish • Mr. and Mrs. Richard B. Dannenberg • Richard H. Danzig • Judy and Sid David • Mr. and Mrs. Frank T. Davis • Mr. and Mrs. Leonard Daykin • Brenda and Jerome Deener • Mr. and Mrs. William DeForge • Dr. and Mrs. Harold Deutsch • Ms. and Mr. Sophie Dichter • Mr. and Mrs. Allen F. Dickerman • Ms. Michele Dodge • Chester and Joy Douglass • Ms. Arden D. Down • Sheila Nussbaum Drill and Richard J. Drill • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Duncan/Susan Brown • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Janet and John Egelhofer • Ursula Ehret-Dichter • Dr. T. Donald and Janet Eisenstein • Mr. Anthony Elson • Ginger and George Elvin • Mr. and Mrs. Edward G. Epstein • Eitan and Malka Evan • Dr. and Mrs. Gerald D. Falk • Mr. and Mrs. Michael Fasano • Mr. and Mrs. David Faust • Mr. and Mrs. Albert J. Favero • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Dr. Jeffrey and Barbara Feingold • Mr. and Mrs. Stanley S. Feld • Ms. Nancy E. Feldman • Roz and Bob Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Mrs. Edith Ferber • Marcia and Jonathan Feuer • Laura and Philip Fidler • Dr. Charles Field and Dr. Cynthia Field • Mr. Norman C. Fields • Mr. and Mrs. Jim Fingeroth • Nancy and Peter Finn • Dr. and Mrs. Steve Finn • Dr. and Mrs. Robert L. Fisher • Sanford and Isanne Fisher • Nancy J. Fitzpatrick and Lincoln Russell • Mr. Thomas C. Flanigan • Mr. and Mrs. William Flannery • Mr. and Mrs. Zachary C. Fluhr • Betty and Jack Fontaine • Mrs. Jeanne M. Forel • Ms. Rose Forman and Ms. Dolores Lerman • Ms. Geraldine U. Foster • Dr. and Mrs. Kenneth Frank • Herb and Barbara Franklin • The Community Foundation for the Capital Region’s Marvin and Sharon Freedman Advised Fund • Rabbi Daniel Freelander and Rabbi Elyse Frishman • The Frelinghuysen Foundation • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. Alan R. Friedman • Mr. Arnold Friedman • Mr. and Mrs. Kenneth G. Friedman • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Ms. Ruth W. Friendly • Ms. Carol G. Fryd • Mr. and Mrs. Austin Frye • Mr. Anthony M. Furman • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Jill and Harold Gaffin • Mrs. Wendy Galano • Lynne Galler and Hezzy Dattner • Mr. and Mrs. David H. Galpern • Dr. and Mrs. John Galt • Mr. and Mrs. Larry N. Gandal • Lonnie and Jeffrey Garber • Leslie and Joanna Garfield • Mrs. Athena G. Garivaltis • Ms. Janet E. Garvey • Patricia Gazouleas • Denise Gelfand and Peter Dubin • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rabbi Everett Gendler and Dr. Mary Gendler • Dr. and Dr. Michael Gershon • Stephanie JL Gertz and Steven I. Weiss • Ms. Ann K. Ghublikian and Ms. Margaret I. Sutherland • Mr. and Mrs. James W. Giddens • Dr. Donald and Phoebe Giddon • Dr. and Mrs. Arthur Gilbert • Stephen Gilbert and Geraldine Staadecker • Cora and Ted Ginsberg • Sam and Joan Ginsburg • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Sy and Jane Glaser • Mrs. Barbara Glasser • Barry Glasser and Candace Baker • Mr. and Mrs. Andor A. Glattstein • Stuart Glazer and Barry Marcus • Mr. and Mrs. Jerome R. Glickman • Dr. Paul Gluck and Dr. Joan Gluck • Dr. Morton Gluck • Ms. Erika Z. Goldberg and Dr. Stephen Kurland • The Goldman Family Trust • Roberta Goldman • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Rabbi Robert S. Goldstein • Mrs. Margery Golin • Martha and Todd Golub • Mr. Paul Gompers • Hon. and Mrs. José A. Gonzalez , Jr. • Ms. Susan P. Goodfellow • Joel and Claudia Goodman • Mr. and Mrs. Lewis I. Goodman • Mr. and Mrs. Robert A. Goodman • Rhonna and Ezra Goodman • Gorbach Family Foundation • Michael L. Gordon • Wendy and Peter Gordon • Mr. and Mrs. Jerry Gorelick • William and Janet Gorth • Jud and Roz Gostin • Barbara and Michael Gotthelf • Dr. and Mrs. Geoffrey Gottlieb • Debora and Alan Grace • Mr. and Mrs. Thomas Graham • Mr. Edward M. Greenberg and Ms. Janet G. Kain • Mr. Harold Grinspoon and Ms. Diane Troderman • Mr. Kenneth Grinspoon • Mr. and Mrs. Bernard Grobman • Charlotte and Sheldon Gross • Mrs. Renee Gross • Carol B. Grossman • Patricia and Louis Grossman • Michael and Muriel Grunstein • Mr. David W. Haas • Ronnie and Jonathan Halpern • Beverly and Lyman Hamilton • Mrs. Phyllis Hammer • Mr. and Mrs. Jerry Hamovit • Scott and Ellen Hand • The Edward Handelman Fund • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Mrs. Deborah F. Harris • William Harris and Jeananne Hauswald •

58 Mr. and Mrs. Edward Harrison • Dr Lynne B Harrison • Mr. and Mrs. Ira Haupt II • Mr. Randolph Hawthorne and Ms. Carliss Baldwin • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Ricki Tigert Helfer and Michael S. Helfer • Mr. and Mrs. Robert Heller • Dr. and Mrs. Wylie C. Hembree • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Neal Henschel • Mr. and Mrs. Adam Hersch • Dr. Suzanne M. Hertel • Elaine and Seymour Hertz • Dr. and Mrs. Lee Hertz • Drs. James and Eleanor Herzog • Mr. and Mrs. Weston M. Hicks • Mrs. Petie Hilsinger • Dr. and Mrs. Ronald Hinds • Mr. and Mrs. Robert C. Hire • Susie and Stuart Hirshfield • Mr. Alexander Hoar • Enid and Charles ‡ Hoffman • Richard Holland • Mr. and Mrs. Charlie Holleran • Mr. and Mrs. Hans Homburger • Ms. Priscilla L. Hook • Ms. Dianne E. Horgan • Larry and Jackie Horn • Mrs. Ruth W. Houghton • Mr. and Mrs. Charles L. Housman • Mr. George L. Howell • Nancy and Walter Howell • Joan and Jim Hunter • Dr. Lester T. Hutton and Mrs. Theresa McMahon • Mr. and Mrs. George Hyman • Valerie and Allen Hyman • Mr. Daniel R. Idzik and Ms. Kathleen Osborne • Dr. Dirk Iglehart • Mr. and Mrs. Russell E. Isaia • Mr. and Mrs. Martin G. Isserlis • Stephen and Michele Jackman • Mr. and Mrs. Richard M. Jacobs • Mr. and Mrs. Jerold Jacobson • Carol and George Jacobstein • Liz and Alan Jaffe • Lola Jaffe • Mr. and Mrs. Richard Jaffe • Mr. and Mrs. Harry Jaroslaw • Margery and Everett Jassy • Dorothy and Charlie Jenkins • Leslie and Stephen Jerome • Mr. Todd Jick and Ms. Wendy Ehrlich • Ron and Joyce Jones • Miriam and Gene Josephs • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mrs. Linda Kadish • Ms. Dorothy Kahn and Ms. Nancy Vazquez • Kahn Family Foundation • Dr. and Mrs. Richard L. Kaiden • Nedra Kalish • Jane and Joel Kamer • Louise and George ‡ Kaminow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Adrienne and Alan Kane • Brian A. Kane • Laurie and Jeffrey Kanter • Alice Siegel Kaplan and Marvin Kaplan • Martin and Wendy Kaplan • Ms. Marianne M. Karmel and Mr. Murray Sackman • Mr. and Ms. Daniel B. Katz • Mr. and Mrs. Gerald M. Katz • Gilbert Katz and Arlene Salzberg • Laura and John Katz • Ms. Lisa Katz • Dr. and Mrs. Melvin and Rima Katz • Mr. and Mrs. Eric Katzman • Mr. Joseph H. Kaufman and Ms. Janet B. Korins • Stephen B. Kay and Lisbeth L. Tarlow • Monsignor Leo Kelty • Ms. Patricia Kennelly and Mr. Edward F. Keon • Mr. and Mrs. Arthur Kessler • Mr. and Mrs. Mark Kester • Mr. and Mrs. Carleton F. Kilmer • Mr. and Mrs. Richard W. Kimball • Mrs. Joan G. Kinne • Mr. Jerry Kirshenbaum • Dr. and Mrs. Leslie S. Kish • Deko and Harold Klebanoff • Robert and Luise ‡ Kleinberg • Mrs. Myra Kleinman • Dr. Samuel Kopel and Sari Scheer • Edward and Susan Kopelowitz • Toby and Paul Koren • Dr. and Mrs. Michael A. Kornfield • Ms. Saranne Kosberg • Janet and Earl Kramer • Mrs. Robert A. Kramer • Mr. Gerd L. Kristeller • Mrs. Patricia Krol and Mr. Stephen Chiumenti • Mr. and Mrs. Irving Kronenberg • Lizbeth and George Krupp • J. Kenneth and Cathy Kruvant • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Mr. and Mrs. Stephen J. Kurtz • Ms. Deborah B. Kurz • Mr. and Mrs. David C. Lack • Cary and Beth Lakenbach • Marilyn E. Larkin • Mr. and Mrs. Richard F. Lasner • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Richard P. Lederer • Joan M. Leftwich • Shirley and Bill Lehman • Dr. and Mrs. Eugene Leibowitz • Mr. and Mrs. Charles J. Lemmen • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Edward M. and Marjorie B. Levin • Mr. and Mrs. Andrew S. Levine • Arlene and Jerome Levine • Mr. and Mrs. Martin R. Levine • Ms. Joy Levitt and Mr. Michael Strassfeld • Ira Levy, Lana Masor and Juliette Freedman • Judie and Coleman Levy • Mr. Robert L. Lichter and Mrs. Diane Scott-Lichter • Mr. and Mrs. Richard Lieb • Mr. and Mrs. Ira Lieberman • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Anthony and Alice Limina • Joyce Linde • Mr. and Mrs. Jean Pierre P. Linder • Dr. Laurie G. Lindner • Ian and Christa Lindsay • Thomas and Adrienne Linnell • Norman and Nancy Lipoff • Dr. and Mrs. Benjamin Liptzin • Mrs. George R. Lloyd and Ms. Susan Antoinette Lloyd • Elizabeth W. and John M. Loder • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Mr. and Ms. Joseph Lombardino • Elaine and Ed London • Gerry and Sheri Lublin • Mr. and Mrs. Bernard S. Ludwig • Susan and Arthur Luger • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Mr. and Mrs. Edward Mahler • I. Kenneth and Barbara Mahler • Diane and Darryl Mallah • Dorothy and Loring Mandel • Dr. and Mrs. Matthew B. Mandel • Mrs. Barbara Mandell • Ms. Barbara E. Mandler • Dr. Paula Marcus and Dr. Steven M. Safyer • Mr. Irving Marks and Ms. Alice Nathan • Jay and Shirley Marks • Carmine A. and Beth V. Martignetti •

TANGLEWOODWEEK 7 TANGLEWOODANNUALFUNDLOYALTYGIVING 59 Mr. and Mrs. Michael M. Martin • Suzanne and Mort Marvin • Jane and Robert J. Mayer, M.D. • Dr. and Mrs. Malcolm Mazow • Mr. Lester G. McCarthy • Ms. Barbara McCullough • Mr. Rodney B. McDaniel • Mr. Paul F. McDevitt and Ms. Suzanne Bump • Mr. Michael McGuire • Mr. Terence McInerney • Mrs. Betsey McKearnan • Ms. Donna McKenna • Janet McKinley • Joel Robert Melamed MD • Dr. Gary B. Melton • Dr. Faith A. Menken • Dr. and Mrs. George Menken • Mr. and Mrs. Joseph Menker • Drs. Fred and Andrea Mensch • Dr. and Mrs. Mark F. Mergen • Soo Sung and Robert Merli • Ms. Elfriede Merman • Mr. Frank B. Merrick • Bill and Marie Metlay • Wilma and Norman Michaels • Ms. Nancy L. Salz and Mr. Richard Mickey • Mr. and Mrs. Alan Milbauer • Rebecca and Nathan Milikowsky • Mr. and Mrs. Charles H. Miller • Judy and Richard J. Miller • Mr. Samuel Miller • Ms. Gaye Moelis and Mr. Stan Greenfield • Mr. and Mrs. Martin Monas • Michael Monts • Mr. and Mrs. David J. Morel • Ms. Ann F. Morgan and Ms. Claire E. Lowery • Dr. Patrick E. Moriarty, M.D. • Kate and Hans Morris • Ms. Susan M. Morris • Dr. and Mrs. Harold Moskowitz • Mr. Nicholas Moy and Ms. Sherry Wolf • Mr. Larry J. Moye and Ms. Nancy Swanson • Dr. Peter B. Mudge • Mr. Robert W. Mullaney • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Mr. and Mrs. Harold L. Nelson • Jerry and Mary ‡ Nelson • Linda and Stuart Nelson • Dr. Herbert A. Newman • Rosalie and I. MacArthur Nickles • Skippy and Vaughn Nixon • Mr. and Mrs. David Nurenberg • John and Patricia O’Brien • John and Mary Ellen O’Connor • Mike, Lonna and Callie Offner • Mr. and Mrs. Gerard O’Halloran • Mr. and Mrs. Richard L. Olewnik • Karen and Chet Opalka • Mrs. Lesley Oransky • Dr. William S. Packard • Elaine and Simon Parisier • Mr. Michael Paskin • Dr. Sara R. Pasternak and Mr. Mathew Levine • Dr. Elizabeth A. Pawlikowski • Mrs. Deborah L. Payne • Dr. and Mrs. Edwin J. Pear , M.D. • David and Lynn Pearle • Barbara and Mel Peller • Stanley and Betty Pelletz • Mr. and Mrs. Frank Penglase • The Claudia and Steven Perles Family Foundation • Lee Perlman and Linda Riefberg • Wendy Philbrick • Mr. and Mrs. Charles Piccinnini • Claudio and Penny Pincus • Ellen L. Plageman • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Andy and Meg Plumer • Letty Cottin Pogrebin and Bert Pogrebin • Mr. and Mrs. James J. Pohlman • Mr. and Mrs. Richard Pollack • Drs. Phyllis Pollack and Peter Metz • Mrs. Irene Pollin • Mr. Jay B. Polonsky • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ms. Harriet Potashnick • Dr. and Mrs. Francis Powers, Jr. • Frank M. Pringle • Mr. and Mrs. Robert Prizer • Mr. John Provino • Mrs. Millard H. Pryor, Jr. • Mary Ann and Bruno A. Quinson • Ellen and Mickey Rabina • Ms. Susan G. Radner • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Judge Edward M. Rappaport • Mr. and Mrs. Mark S. Rauch • The Charles L. Read Foundation • John S. and Cynthia Reed • Carol and Joe Reich • Mr. Joel Reich • Mr. and Mrs. H. Juergen Reiche • Robert and Ruth Remis • Dr. and Mrs. F. P. Rentz • Ronald and Karen Rettner • Sharon and Howard Rich • Nancy and Rick Richardson • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Marge Richman • Ms. Anne F. Riney and Mr. Myles W. Schumer • Gloria and James Riordan • Lewis and Marcia Ripps • Maureen and Paul Robert • Elaine and Bernard Roberts • Dr. and Mrs. Gerald S. Roberts • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Mr. Robert W. Romatzick • Barbara and Michael Rosenbaum • Mr. and Mrs. Jeffrey A. Rosenberg • Ms. Sheryl Rosenfield and Ms. Rita Glassman • Mr. and Mrs. Theodore S. Rosky • Paul and Syrille Rosman • Edie and Stan Ross • Mr. James Ross • Lucinda and Brian Ross • Dr. and Mrs. Arthur E. Roswell • Sue Rothenberg • Mr. and Mrs. Lewis Rothman • Mr. and Mrs. Jean J. Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Mr. and Mrs. William J. Ruane • Barbara Rubin • Milton B. Rubin • Suzanne and Burton Rubin • Phyllis and Samuel Rubinovitz • Sue Z. Rudd • Carole and Edward I. Rudman • Larry and Pat Rutkowski • Rev. Fleming Rutledge • Mr. and Mrs. Steve Ryan • Dr. Beth Sackler and Mr. Jeffrey Cohen • Dr. and Mrs. Parvis J. Sadighi • Mr. Bruce Sagan and Ms. Bette Cerf Hill • Mr. and Mrs. Kenan E. Sahin • Joan and Michael Salke • Malcolm and BJ Salter • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. and Mrs. Daniel Saul • Dr. and Mrs. Wynn A. Sayman • Dr. Charles D. Schaeffer, Jr. • Ms. Susan Schaeffer • Mr. Philip Schatten and Dr. Cheryl Fishbein • Mr. and Mrs. Michael Scheck • Carol Scheman and David Korn • Susan and Gary Scher • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Mr. and Mrs. Dohn S. Schildkraut • Paula and Steven Schimmel • Mr. and Mrs. Martin Schlanger • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Dr. and Mrs. David Schottenfeld • Henry and Pearl Schour •

60 Mr. and Mrs. John E. Schowalter • Dan Schrager and Ellen Gaies • Mr. and Mrs. Barry Schulman • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carrie and David Schulman • Gloria Schusterman • Heidi and Robert Schwartz • Mr. and Mrs. Jack Schwartz • Jane and Marty Schwartz • Mr. and Mrs. Marvin Schwartzbard • Mr. and Mrs. Nathan Schwartzberg • Elke and Bob Schwedel • Mr. and Mrs. Stuart A. Schweitzer • Lise Scott and D. Ronald Daniel • Ron Searls • Mr. and Mrs. Leo V. Seligsohn • Mr. Marvin Seline • Carol and Richard Seltzer • Mrs. Sandra Semel • William and Bonnie Sexton • Arlene and Donald Shapiro • Daniel and Lynne Ann Shapiro • Evelyn and Ronald Shapiro • Mr. Jerome E. Shapiro and Ms. Beverly Silverstein • JoAnne and Joel Shapiro • Lois and Leonard Sharzer • Mr. and Mrs. Stephen A. Shatz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Rabbi Arnold Sher • Dr. and Mrs. Michael F. Sheridan • Mona and Arthur Sherman • The Shields Family • Mr. and Mrs. Theodore R. Shiffman • Hannah and Walter Shmerler • Nancy Shulman and Monte Wasch • Honorable George and Charlotte Shultz • Maureen and Stanley Siegel • Mr. Clark Silcox • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Mrs. Jane A. Silverman • Dr. Leonard Silverman and Dr. Gail Silverman • Dr. and Mrs. Harvey B. Simon • Marion A. Simon • Mr. and Ms. Richard Simon • Scott and Robert Singleton • Mrs. Barbara Sirkin • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Maggie and Jack Skenyon • Dr. and Mrs. Joseph H. Sklar • Mr. and Mrs. Edward Slomin • Dr. and Mrs. Stanley A. Small • Dr. and Mrs. Paul Smilow • Carol and Irv Smokler • Mr. and Mrs. Harvey Snitivker • Mr. and Mrs. Leon J. Sokol • Elaine Sollar and Edwin R. Eisen • Mr. Alan Solomon and Ms. Ellen Donat • Irwin and Florence Speyer • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Robert Spielman • Lauren Spitz • Mr. and Mrs. Edmund R. St. John • Prof. and Mrs. Max L. Stackhouse • Lynn and Ken Stark • Judy and Steven Stein • Lynn ‡ and Lewis Stein • Suzanne and Robert Steinberg • Mr. and Mrs. Alvin Steiner • Mr. and Mrs. Mario Steinvurzel • Mr. Daniel E. Stoller • Noreene Storrie and Wesley McCain • Norma and Jerry Strassler • Mr. and Mrs. Jerry A. Straus • Mr. and Mrs. Richard A. Strauss • Ms. Pat Strawgate • Mr. and Mrs. Edward Streim • Roz and Charles Stuzin • Ms. Carole S. Sund • Mr. Richard Sussman • Flora and George Suter • Mr. and Mrs. Dennis D. Swanson • Mr. and Mrs. I. David Swawite • Ms. Pamela J. Sweeney • Dorothy and Gerry Swimmer • Mr. and Mrs. Alfred Symonds • Mr. and Mrs. Leonard Tabs • Dr. and Mrs. Steven D. Targum • Mr. and Mrs. Leonard Taubenblatt • Aso O. Tavitian • Ingrid and Richard Taylor • Caroline and James Taylor • Mr. and Mrs. Walter H. Taylor • Janet and Jack Teich • Allen Thomas and Jane Simpson • John Lowell Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Richard T. Tibbetts • Jerry and Roger Tilles • Mr. and Mrs. Jack Tobin • Jacqueline and Albert Togut • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Scott A. Trexler • Myra and Michael Tweedy • Mr. and Mrs. Howard J. Tytel • William E. Briggs and Donald Usher • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mr. and Mrs. Thomas Vigars-Amyot • Mr. and Mrs. Chester Vogel • Mr. and Mrs. William H. Vogt • Mr. and Mrs. Michael L. Wachter • Linda and Edward Wacks • Miss Roberta H. Waller • Ms. Judith A. Walter and Mr. Irvin B. Nathan • Ms. Marian M. Warden • Dr. and Mrs. Andrew C. Warheit • Mr. and Mrs. Arthur Warshaw • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen and Dorothy Weber • Ted and Jean Weiller • Mr. and Mrs. Robert A. Weiner • Ron and Vicki Weiner • Dr. Wynne Weiner and Dr. Michael Weiner • Mr. and Mrs. Martin Weinstein • Mr. Roney Weis • Betty and Ed Weisberger • Elizabeth and Irwin Weiser • Ms. Robin M. Weiser and Mr. Peter O. Bodnar • Gail and Barry Weiss • Dr. and Mrs. Jerry Weiss • Laura and Barry Weiss • Mrs. Robert A. Wells • Dr. and Mrs. Albert Wermuth, Jr. • Jacqueline R. Werner • Fred and June Wertlieb • Mr. Stephen K. West • Mr. and Mrs. Avram Westin • Carol Andrea Whitcomb • Carole White • Mr. and Mrs. Arthur J. Wichman • Pamela Wickham • Elisabeth and Robert Wilmers • Ms. Libby Wilson • Mr. Robert R. and Mrs. Sharyn B. Wilson • Mr. Fred A. Windover • Mr. Jan Winkler and Ms. Hermine Drezner • Dr. and Mrs. Randall S. Winn • Robert and Roberta Winters • The Wittels Family • Sally and Steve Wittenberg • Mr. and Mrs. Geoffrey Woglom • Mr. and Mrs. Clifford F. Wohl • Dr. and Mrs. Jacob Wolansky • Mr. and Mrs. Bernard Wolfson • Dr. and Mrs. Joel A. Wolk • Mr. David A. Wood • Mr. and Mrs. Michael Zaccaro • Mr. Benjamin Zelermyer and Ms. Dianne Selditch • Carol and Robert Zimmerman • Mr. and Mrs. Jeffrey Zukoff • Mr. Lyonel E. Zunz ‡ • Mr. and Mrs. Jack Zwick • Anonymous (31)

TANGLEWOODWEEK 7 TANGLEWOODANNUALFUNDLOYALTYGIVING 61 62 Tanglewood Major Corporate Sponsors 2015 Season

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

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

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

TANGLEWOODWEEK 7 MAJORCORPORATESPONSORS 63

August at Tanglewood

Saturday, August 1, 10:30am Thursday, August 6, 8pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) EMANUEL AX, piano BSO program of Sunday, August 2 LEONIDAS KAVAKOS, violin YO-YO MA, cello Saturday, August 1, 8:30pm All-Brahms program BSO—ANDRIS NELSONS, conductor JEAN-YVES THIBAUDET, piano Friday, August 7, 6pm (Prelude Concert) RENAUD CAPUÇON, violin MEMBERS OF THE BSO GAUTIER CAPUÇON, cello All-Dvoˇrák program

BEETHOVEN Triple Concerto for piano, Friday, August 7, 8:30pm violin, and cello SHOSTAKOVICH Symphony No. 10 The Serge and Olga Koussevitzky Memorial Concert Sunday, August 2, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—ANDRIS NELSONS, conductor LEONIDAS KAVAKOS, violin HÅKAN HARDENBERGER, trumpet RAVEL Mother Goose Suite YO-YO MA, cello SIBELIUS Violin Concerto STEVEN ANSELL, viola STRAVINSKY Petrushka (1911 version) HAYDN Symphony No. 90 Saturday, August 8, 10:30am DEAN Dramatis personae, Music for Trumpet and Orchestra Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STRAUSS Don Quixote BSO program of Sunday, August 9

Sunday, August 2, 8pm Saturday, August 8, 8:30pm TMC ORCHESTRA—KEN-DAVID MASUR TMC 75th Anniversary Gala and TMC CONDUCTING FELLOWS, The Leonard Bernstein Memorial Concert conductors TMC ORCHESTRA—ANDRIS NELSONS, DAWN UPSHAW, soprano conductor TMC VOCAL FELLOWS ERIN WALL, CHRISTINE GOERKE, ERIN A TMC 75 Opera Celebration: excerpts from MORLEY, LIOBA BRAUN, JANE HENSCHEL, Mozart’s Idomeneo, Golijov’s Ainadamar, and KLAUS FLORIAN VOGT, MATTHIAS Britten’s Albert Herring GOERNE, and AIN ANGER, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 4, 8:30pm (Gala Concert) BOSTON UNIVERSITY TANGLEWOOD Tanglewood on Parade INSTITUTE CHORUS (Grounds open at 2pm for music and AMERICAN BOYCHOIR activities throughout the afternoon) MAHLER Symphony No. 8 BSO, BOSTON POPS ORCHESTRA, and TMC ORCHESTRA Sunday, August 9, 2:30pm STÉPHANE DENÈVE, KEITH LOCKHART, BSO—CHARLES DUTOIT, conductor ANDRIS NELSONS, and JOHN WILLIAMS, JOSHUA BELL, violin conductors Music of Berlioz, Shostakovich, Ravel, MUSSORGSKY Night on Bald Mountain Williams, Kabalevsky, and Tchaikovsky, plus GLAZUNOV Violin Concerto an anniversary tribute to Frank Sinatra BERLIOZ Symphonie fantastique Fireworks to follow the concert Sunday, August 9, 8pm Wednesday, August 5, 8pm YO-YO MA, cello MATTHIAS GOERNE, baritone EMANUEL AX, piano MARKUS HINTERHÄUSER, piano Beethoven’s complete sonatas for cello Schubert’s Winterreise and piano Wednesday, August 12, 8pm CHRISTIAN TETZLAFF, violin Solo violin music of Ysaÿe, Bach, Kurtág, and Bartók

Thursday, August 13, 8pm Sunday, August 16, 2:30pm YO-YO MA, cello BSO (Beethoven) and TMCO (Copland)— with MIKE BLOCK, MONIKA LESKOVAR, ASHER FISCH, conductor and GIOVANNI SOLLIMA, cellos JULIANNA DI GIACOMO, RENÉE TATUM, BOSTON CELLO QUARTET PAUL GROVES, and JOHN RELYEA, vocal “A Distant Mirror” (inspired by Barbara’s soloists Tuchman’s book): a program exploring the TANGLEWOOD FESTIVAL CHORUS musical worlds and contemporary resonances COPLAND Symphonic Ode of the late 16th and early 17th centuries, BEETHOVEN Symphony No.9 and of the period’s most celebrated literary figures, Shakespeare and Cervantes Friday, August 21, 8:30pm Friday, August 14, 6pm (Prelude Concert) BOSTON POPS ESPLANADE ORCHESTRA TANGLEWOOD FESTIVAL CHORUS KEITH LOCKHART, conductor JOHN OLIVER, conductor CIRQUE DE LA SYMPHONIE Music of Bach, Barber, Brahms, and Copland A magical fusion of circus and classical music, featuring aerial flyers, acrobats, contortionists, Friday, August 14, 8:30pm dancers, jugglers, balancers, and strongmen along with the Boston Pops BSO—ANDRIS NELSONS, conductor CHRISTIAN TETZLAFF, violin Saturday, August 22, 8:30pm MENDELSSOHN Violin Concerto John Williams’ Film Night MAHLER Symphony No. 6 BOSTON POPS ESPLANADE ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Saturday, August 15, 10:30am conductors Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 16 Sunday, August 23, 4pm JOHN PIZZARELLI & JESSICA MOLASKEY Saturday, August 15, 8:30pm “Radio Deluxe Live” BSO—ANDRIS NELSONS, conductor KRISTINE OPOLAIS, soprano Thursday, August 27, 7pm BARBER Second Essay for Orchestra EDDIE IZZARD BOITO “L’altra note infondo al mare” from Friday, August 28, 7pm Mefistofele PUCCINI Intermezzo from Manon Lescaut THE PIANO GUYS VERDI Willow Song and “Ave Maria” from Saturday, August 29, 7pm Otello STRAUSS Ein Heldenleben IDINA MENZEL Friday, September 4, 7pm HARRY CONNICK, JR.

Saturday, September 5, 8:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor KRISTIN CHENOWETH, special guest

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

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

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

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

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

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

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

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

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

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

Administration

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

Administrative Staff/Artistic

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

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

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

Business Office

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

Development

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

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

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

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

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

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

Boston Symphony Association of Volunteers

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

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

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

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

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

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

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

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

Koussevitzky Music Shed

Seiji Ozawa Hall