Charles Dutoit 63 Paul Groves 65 Tanglewood Festival Chorus 66 James Burton 69 Voices Boston 69 Steven Lipsitt

Table of Contents | Week 17

7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a brief history of the bso 26 this week’s program

Notes on the Program

28 The Program in Brief… 29 Berlioz “Resurrexit” 37 Henri Dutilleux 45 Berlioz “Te Deum” 57 To Read and Hear More…

Guest Artists

61 Charles Dutoit 63 Paul Groves 65 Tanglewood Festival Chorus 66 James Burton 69 Voices Boston 69 Steven Lipsitt

70 sponsors and donors 96 future programs 98 symphony hall exit plan 99 symphony hall information

the friday preview on february 26 is given by bso director of program publications marc mandel.

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 135th season, 2015–2016

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn † • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • 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 • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •

week 17 trustees and overseers 3

photos by Michael J. Lutch

Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • 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 • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • James L. Bildner • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • James C. Curvey • 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 • 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 • 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 • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • 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 • Christopher Smallhorn • 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

week 17 trustees and overseers 5

BSO News

Andris Nelsons and BSO Win 2016 Grammy For Best Orchestral Performance Released last summer, the first disc in Andris Nelsons’ continuing Shostakovich series with the BSO on Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow”—the composer’s Symphony No. 10 and the Passacaglia from his opera Lady Macbeth of Mtsensk—was awarded the 2016 Grammy for Best Orchestral Performance at the 58th Annual Grammy Awards on February 15. In accepting the award on behalf of the BSO and the engineering and production team for this project, Maestro Nelsons commented that the award “shines a spotlight on my exceptional Boston Symphony Orchestra musicians, who so powerfully convey both the exquisite music and great depth of emotion stemming from Stalin’s Soviet Union” and “truly provides a new level of inspiration for us as we continue to move forward with our Shostakovich project alongside our equally exceptional partner, Deutsche Grammophon.” The next release in the series—to include symphonies 5, 8, and 9, plus selections from Shostakovich’s incidental music to Hamlet, all taken from live performances this season—is scheduled for this coming spring.

BSO Music Director Laureate Seiji Ozawa Wins 2016 Grammy for Best Opera Performance Also at the 58th Annual Grammy Awards on February 15, BSO Music Director Laureate Seiji Ozawa and the Saito Kinen Orchestra won the 2016 Grammy for Best Opera Recording, for their recording of Ravel’s L’Enfant et les sortilèges and Shéhérazade featuring mezzo-soprano Isabel Leonard and the Saito Kinen Festival Matsumoto Chorus and Children’s Chorus. This follows Maestro Ozawa’s recent recognition—along with Carole King, George Lucas, Rita Moreno, and Cicely Tyson—when he was among the honorees celebrated at the 2015 Kennedy Center Honors this past December.

Boston Symphony Chamber Players at Jordan Hall: All-Beethoven Program, Sunday, March 13, at 3 p.m. Joined by guest pianist Garrick Ohlsson, the Boston Symphony Chamber Players perform their third of four concerts this season at Jordan Hall at the New England Conservatory, on Sunday, March 13, at 3 p.m. The all-Beethoven program includes the String Trio in C minor, Opus 9, No. 3; the Quintet in E-flat for piano and winds, Opus 16; the Duet in E-flat “with two obbligato eyeglasses,” WoO 32, performed here on viola and double bass, and the Piano Trio in E-flat, Opus 70, No. 2. Single tickets are $38, $29, and $22, available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at Jordan Hall.

week 17 bso news 7

Free Sunday-afternoon BSO Community Concerts The BSO continues its series of free Community Chamber Concerts throughout the greater Boston area, offering chamber music performances by BSO musicians on selected Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee- and-dessert reception for the audience and musicians. Coming up next is a program pairing Haydn’s String Quartet in B-flat, Opus 76, No. 4, Sunrise, and Brahms’s String Sextet No. 2 in G, Opus 36, with BSO string players Jason Horowitz, Julianne Lee, Daniel Getz, Rebecca Gitter, Oliver Aldort, and Blaise Déjardin. There will be two performances: on February 28 at The Cabot in Beverly, and on March 6 at the Strand Theatre in Dorchester. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on Febru- ary 26 is given by Marc Mandel. Speakers in the weeks ahead include Elizabeth Seitz of the Boston Conservatory on March 4, author/composer Jan Swafford on March 11, and Harlow Robinson of Northeastern University on March 25.

week 17 bso news 9 2016 BSO Concerto Competition for High School Students Since 1959, the Boston Symphony Orchestra has hosted a concerto competition for high school instrumentalists at an advanced level of musical study. The competition is open to sophomore, junior, and senior high school instrumentalists not older than nineteen years of age, and who reside or are full-time students in Massachusetts. The competition recog- nizes two first-place winners who perform their concerto with the Boston Pops, or with the BSO in a BSO Family Concert. The application deadline for the initial round of auditions— via submission of a recording on CD—is Friday, March 4, 2016. Final auditions, to take place on the stage of Symphony Hall, are scheduled for Tuesday, March 29. Please visit bso.org/youngmusicians to review the application for further information and competition eligibility.

individual tickets are on sale for all concerts in the bso’s 2015-2016 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 99 of this program book.

Planned Gifts for the BSO: contact Jill Ng, Director of Planned Giving Orchestrate Your Legacy and Senior Major Gifts Officer, at (617) 638- There are many creative ways that you can 9274 or [email protected]. We would be delighted support the BSO over the long term. Planned to help you orchestrate your legacy with gifts such as bequest intentions (through the BSO. your will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities Friday-afternoon Bus Service can generate significant benefits for you now while enabling you to make a larger gift to the to Symphony Hall BSO than you may have otherwise thought If you’re tired of fighting traffic and searching possible. In many cases, you could realize for a parking space when you come to Friday- significant tax savings and secure an attrac- afternoon Boston Symphony concerts, why tive income stream for yourself and/or a not consider taking the bus from your com- loved one, all while providing valuable future munity directly to Symphony Hall? The support for the performances and programs Boston Symphony Orchestra is pleased to you care about. When you establish and continue offering round-trip bus service on notify us of your planned gift for the Boston Friday afternoons at cost from the following Symphony Orchestra, you will become a communities: Beverly, Canton, Cape Cod, Con- member of the Walter Piston Society, joining cord, Framingham, the South Shore, Swamp- a group of the BSO’s most loyal supporters scott, Wellesley, Weston, and Worcester in who are helping to ensure the future of the Massachusetts; Nashua, New Hampshire; BSO’s extraordinary performances. Members and Rhode Island. In addition, we offer bus of the Piston Society—named for Pulitzer service for selected concerts from the Prize-winning composer and noted musician Holyoke/Amherst area. Taking advantage of Walter Piston, who endowed the BSO’s prin- your area’s bus service not only helps keep cipal flute chair with a bequest—are recog- this convenient service operating, but also nized in several of our publications and provides opportunities to spend time with offered a variety of exclusive benefits, includ- your Symphony friends, meet new people, ing invitations to various events in Boston and conserve energy. For further information and at Tanglewood. If you would like more about bus transportation to Friday-afternoon information about planned gift options and Boston Symphony concerts, please call the how to join the Walter Piston Society, please Subscription Office at (617) 266-7575.

10 Go Behind the Scenes: radio station consisting of BSO concert per The Irving W. and Charlotte F. Rabb formances from the previous twelve months. Symphony Hall Tours Visit classicalwcrb.org/bso. Current and upcoming broadcasts include last week’s pro- The Irving W. and Charlotte F. Rabb Symphony gram of Haydn, Hartmann, and Beethoven Hall Tours—named in honor of the Rabbs’ led by Vladimir Jurowski, with violin soloist devotion to Symphony Hall with a gift from Alina Ibragimova in her BSO debut (February their children James and Melinda Rabb and 29 encore), this week’s program of Charles Betty (Rabb) and Jack Schafer—provide a Dutoit leading music of Berlioz and Dutilleux rare opportunity to go behind the scenes at (February 27; encore March 7), and Charles Symphony Hall. In these free guided tours, Dutoit leading music of music of Ravel and experienced members of the Boston Sym- Falla (March 5; encore March 14). phony Association of Volunteers unfold the history and traditions of the Boston Symphony Orchestra—discussing its musicians, conduc- BSO Members in Concert tors, and supporters—while also offering in- BSO cellist Mickey Katz and pianist Constan- depth information about the Hall itself. Free tine Finehouse perform music of Beethoven, walk-up tours are available on most Wednes- Mendelssohn, Rossini, Martinu,˚ and others days at 4 p.m. and two Saturdays each month as part of the Hammond Real Estate Perform- at 2 p.m. during the BSO season. Please visit ing Arts Series on Sunday, March 6, at 3 p.m. bso.org/tours for more information and to at Follen Community Church, 755 Massa- register. chusetts Avenue, Lexington. Admission is free; however, reservations are recommended BSO Broadcasts on WCRB and can be made by calling (781) 861-8100, ext. 1102. BSO concerts are heard on the radio at 99.5 WCRB. Each Saturday-night concert is broad- BSO principal trumpet Thomas Rolfs and cast live at 8 p.m. with host Ron Della Chiesa, principal trombone Toby Oft are soloists and encore broadcasts are aired on Monday with the Boston Classical Orchestra, Steven nights at 8 p.m. In addition, interviews with Lipsitt, conductor, in a program entitled guest conductors, soloists, and BSO musicians “Classical Mastery” on Sunday, March 6, at are available online, along with a one-year 3 p.m. at Faneuil Hall. The program includes archive of concert broadcasts. Listeners can Salieri’s Sinfonia Veneziana, Leopold Mozart’s also hear the BSO Concert Channel, an online Serenade in D for trumpet, trombone, and

week 17 bso news 11 orchestra, Wolf-Ferrari’s Suite Veneziana, by Bach, Chopin, Muczynski, Mussorgsky, Op. 18, and Haydn’s Symphony No. 59, Piazzolla, Ravel, Rimsky-Korsakov, Sarasate, Fire. Tickets at $20-$78, are available at Villa-Lobos, and Vivaldi. Tickets at $15 and bostonclassicalorchestra.org or by calling $20 are available at the Jordan Hall Box (866) 811-4111. Office or by calling (617) 585-1260. Visit necmusic.org for more information. Retired BSO principal trombone Ronald Barron, assisted by pianist Larry Wallach, trumpet player Allan Dean, violinist Ron Those Electronic Devices… Gorevic, and the University of Massachusetts As the presence of smartphones, tablets, and Trombone Choir, Greg Spiridopoulos, con- other electronic devices used for communica- ductor, plays a recital of American music for tion, note-taking, and photography continues trombone on Sunday, March 13, at 3 p.m. at to increase, there have also been increased Richmond Congregational Church, 1515 State expressions of concern from concertgoers Road/Rte. 41, in Richmond. The performance and musicians who find themselves distracted is presented in support of the Emergency not only by the illuminated screens on these Fuel Assistance Fund. No tickets are required, devices, but also by the physical movements though donations will be gratefully accepted. that accompany their use. For this reason, For further information, please call (413) and as a courtesy both to those on stage and 698-2801. those around you, we respectfully request Collage New Music, founded by former BSO that all such electronic devices be completely percussionist Frank Epstein and whose mem- turned off and kept from view while BSO per- bers include former BSO cellist Joel Moerschel formances are in progress. In addition, please and current BSO violinist Catherine French, also keep in mind that taking pictures of the performs an all-Carter program entitled orchestra—whether photographs or videos— “Elliott’s Ears and Eras” on Sunday, March 13, is prohibited during concerts. Thank you very at 8 p.m., at Edward Pickman Hall at the much for your cooperation. Longy School of Music, 27 Garden Street, Cambridge. General admission is $25 in advance, $30 at the door (discounts for sen- Comings and Goings... iors and students). For more information, Please note that latecomers will be seated by visit collagenewmusic.org. the patron service staff during the first con- BSO violinists Elita Kang, Julianne Lee, and venient pause in the program. In addition, Alexander Velinzon, and BSO flutist Clint please also note that patrons who leave the Foreman, are among the participants in auditorium during the performance will not New England Conservatory’s 26th Annual be allowed to reenter until the next convenient Composers Celebration Concert—this year pause in the program, so as not to disturb the saluting composers born in March—on performers or other audience members while Sunday, March 13, at 7:30 p.m. at NEC’s the music is in progress. We thank you for Jordan Hall. The program includes works your cooperation in this matter.

week 17 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. Much of this year’s exhibit was inspired by the series of Shostakovich recordings currently being made by Andris Nelsons and the BSO in collaboration with Deutsche Grammophon. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor documenting the commercial recording history of the BSO • two displays cases in the Brooke Corridor focusing on historic BSO performances of Shostakovich’s music, and spotlighting the visit to America by a delegation of Soviet composers led by Shostakovich in November 1959, including a visit to Symphony Hall • two display cases in the Huntington Avenue corridor focusing on BSO members of Russian and Eastern European descent, and the BSO’s historic 1956 tour to the Soviet Union, the first visit by an American orchestra to Russia exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the appointment of Serge Koussevitzky as conductor of the BSO • a display case, also in the first-balcony corridor, audience-right, spotlighting the Tanglewood Music Center, which was founded by Koussevitzky (as the Berkshire Music Center) in 1940 and celebrated its 75th anniversary this past summer • a display case in the first-balcony corridor, audience-left, marking the 80th birthday this past September of BSO Music Director Laureate Seiji Ozawa • three exhibit cases in the Cabot-Cahners Room highlighting collections of memorabilia—the Paul Cherkassky, Albert Sand, and Josef Zimbler collections— originally belonging to BSO members of Russian or Eastern European origin

TOP OF PAGE, LEFT TO RIGHT: 78rpm label for one of the BSO’s recordings from its very first commercial session in 1917, the Prelude to Act III of Wagner’s “Lohengrin” with Karl Muck conducting November 1959 photo of (from left) Russian-born BSO violinists Vladimir Resnikoff and Victor Manusevitch with Dmitri Shostakovich at Symphony Hall (photo by Ed Fitzgerald) BSO manager Thomas D. Perry’s telegram of June 7, 1956, informing Charles Munch that the BSO has accepted the USSR’s invitation to perform in Leningrad and Moscow

week 17 on display 15 ac Borggreve Marco

Andris Nelsons

In 2015-16, his second season as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, Andris Nelsons leads the BSO in thirteen wide-ranging programs, three of them being repeated at Carnegie Hall in New York. This past August, Maestro Nelsons’ contract as music director of the Boston Symphony Orchestra was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhaus- orchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two. Highlights of this season’s BSO programs include concert performances of Strauss’s Elektra; three weeks marking the 400th anniversary of the death of Shakespeare; new works by Hans Abrahamsen and George Tsontakis; and the continuation of the orchestra’s multi-year Shostakovich recordings project in collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 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-threaten- ing shadow of Soviet dictator Joseph Stalin. Following this past summer’s Tanglewood season, Andris Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals. An eight-city tour to Germany, Austria, and Luxembourg is scheduled for May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Mr. Nelsons made his BSO debut at Carnegie Hall in March 2011 with 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). His first compact disc with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—

16 was released last November on BSO Classics. Released by Deutsche Grammophon in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, and in summer 2016 returns to the Bayreuth Festival for a new production of Wagner’s Parsifal.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” For more information about Andris Nelsons, please visit andrisnelsons.com and bso.org. ac Borggreve Marco

week 17 andris nelsons 17 Boston Symphony Orchestra 2015–2016

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

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

week 17 boston symphony orchestra 19

S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 135th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds 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

week 17 a brief history of the bso 21

revered concert halls, opened on October 15, 1900. Henschel was S Archives BSO succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In Archives BSO 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 Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

week 17 a brief history of the bso 23

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number

S Archives BSO of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood 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 next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s 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.

week 17 a brief history of the bso 25 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 135th season, 2015–2016

Thursday, February 25, 8pm Friday, February 26, 1:30pm Saturday, February 27, 8pm | sponsored by commonwealth worldwide chauffeured transportation

charles dutoit conducting

berlioz “resurrexit,” for chorus and orchestra tanglewood festival chorus, james burton, guest chorus conductor Text and translation are on page 35.

dutilleux “timbres, espace, mouvement,” ou “la nuit étoilée” (performed to mark the 100th anniversary of dutilleux’s birth) I. Nébuleuse Interlude— II. Constellations

{intermission} ac Borggreve Marco

26 berlioz “te deum,” opus 22, for tenor soloist, double chorus, children’s chorus, organ, and orchestra Te Deum (Hymne) Tibi omnes angeli (Hymne) Dignare, Domini (Prière) Christe, Rex gloriae (Hymne) Te ergo quaesumus (Prière) Judex crederis esse venturus (Hymne et prière) paul groves, tenor tanglewood festival chorus, james burton, guest chorus conductor voices boston, steven lipsitt, artistic director james david christie, organ Text and translation begin on page 54.

friday afternoon’s performance of berlioz’s “te deum” is supported by kristin mortimer in memory of owen jander, longtime and beloved professor of music at wellesley college. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2015-16 season.

The evening concerts will end about 9:50, the afternoon concert about 3:20. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 17 program 27 The Program in Brief...

Two choral works by the innovative French composer Hector Berlioz frame this week’s program. Opening the concert is Berlioz’s Resurrexit for chorus and orchestra, dating in its original version to his fourteen-movement Messe solennelle, his first large work, written in 1824 when he was twenty. The Messe solennelle was performed in 1825 and then again in 1827, after which (according to his Memoirs) the dissatisfied composer chose to burn it— though this presumably referred just to the choral and orchestral parts, since the autograph manuscript was discovered in 1992 in Antwerp, Belgium. In any event, Berlioz saw fit to retain and revise the Resurrexit movement of the Messe solennelle as a stand-alone piece performed in 1828 and 1829, but then put it aside, leaving it unpublished during his lifetime. The text—part of the Credo of the Latin Mass—relates the Resurrection and Ascension of Christ. The seven-minute piece is primarily fleet and light, but slowed by a series of brass fanfares to anticipate the Last Judgment.

Following the intermission comes Berlioz’s Te Deum of 1848-49, for double chorus, children’s chorus, solo tenor, organ, and orchestra, dating from a quarter-century after the Resurrexit. The text of the Te Deum—which begins “We praise Thee, o God—is a celebratory hymn dating back to the fourth century, and used for centuries in the context of both prayer and public celebration. Though Berlioz began composing his Te Deum immediately after Louis-Napoleon was elected President of the French Republic in 1848—which seemingly offered the possibility of a large-scale public performance—he simultaneously conceived it as a tribute to the ideals of Louis-Napoleon’s uncle, Napoleon Bonaparte. But no such performance was requested, and the only one to take place in Berlioz’s lifetime served to inaugurate a new organ in 1855 at the Church of Saint-Eustache. Both within and across movements, the music of the Te Deum is filled with typically Berliozian contrasts of color and dynamic.

In between these two works, the Boston Symphony Orchestra continues its observance of the great French composer Henri Dutilleux’s centennial with the BSO’s first performances of Dutilleux’s Timbres, espace, mouvement (“Sounds, space, movement”), subtitled La Nuit étoilée—“The Starry Night”—and taking its inspiration from Vincent van Gogh’s famous painting of that name. Commissioned by Mstislav Rostropovich, who led the premiere in January 1978 during his first season as music director of the National Sym- phony Orchestra, the score of Timbres, espace, mouvement is dedicated to Charles Munch, who during his time as the BSO’s conductor was a champion of Dutilleux’s music. The two movements of this twenty-minute work are titled “Nebula” and “Constellations”; Dutilleux added the Interlude for cellos that bridges the two movements in 1990. Note- worthy in the work’s orchestration is the complete omission of violins and violas, whereby the cellos and double basses, in the composer’s words, “form a mass of lower strings that contrast with the luminous sonorities of the woodwind and brass, with nothing at the center”—thereby giving rise to “an unusual type of instrumental material inspired by the curious impression of vertigo and cosmic space exuded by [Van Gogh’s] canvas.”

Marc Mandel

28 Hector Berlioz “Resurrexit,” for chorus and orchestra

HECTOR BERLIOZ was born at La Côte-Saint-André (Départment of Isère), south of Lyon, France, on December 11, 1803, and died in Paris on March 8, 1869. He composed the “Resurrexit” in 1824 as part of his “Messe solennelle,” which was first performed in the church of Saint-Roch, Paris, on July 10, 1825, conducted by Henri Valentino. It was performed again in 1827, after which Berlioz revised the “Resurrexit” for performance in 1828 and 1829, but disregarded it thereafter and never published it.

THE “RESURREXIT” IS SCORED for mixed-voice chorus (sopranos, altos, tenors, basses) with an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, four trumpets, three trombones, ophicleide (replaced in modern performances by tuba; see below), serpent (also typically replaced by tuba), four timpani, and strings.

One of the most sensational discoveries in classical music in recent decades was the recovery in 1992 from a church in Antwerp, Belgium, of the complete autograph manuscript of the Messe solennelle, Berlioz’s first large work, composed at the age of twenty. Since Berlioz repeatedly said he burned it after an unsatisfactory second performance in 1827, no one had been very inclined to go looking for it, least of all in a church in Belgium. In his Memoirs he gave a full account of how he came to write it and get it performed, so the work was, in a sense, not entirely unknown when it came to light.

In any case, one movement (of the fourteen) stood out from the rest in Berlioz’s judgment, so it escaped whatever “burning” took place in 1827. This was the Resurrexit, which he revised for a third and a fourth performance in 1828 and 1829, and which survived in two separate manuscripts. It was published for the first time in 1902.

The text forms the part of the Credo of the Latin Mass that narrates the Resurrection and Ascension of Christ, then affirms the Christian belief that Christ will come again to judge both the living and the dead. The rest lists the central articles of a believer’s faith. It was the movement that Berlioz chose to set in the most dramatic fashion, departing radically

week 17 program notes 29 Program page for the Boston Symphony Orchestra’s performances in October 1994 of Berlioz’s 1824 “Messe solennelle”—with the “Resurrexit” in its original form as the ninth movement— under Seiji Ozawa (BSO Archives)

30 from the style of Masses customarily sung in Paris at that time. Typical models would have been by Cherubini and Berlioz’s teacher Lesueur, who shared the provision of music for the Royal Chapel in Paris.

All his life Berlioz objected to the notion that sacred music should be solemn and free of expression, in other words, dull. It could at times be solemn, of course, but for him the text often had a dramatic quality that should be reflected in music designed to excite and move the listener. There could be no more dramatic story than the death and resurrection of Christ. So the Resurrection is here represented in a great shout of joy, and the Ascension with a more restrained hymn in a major key over a forest of pizzicatos in the strings.

But the truly dramatic moment comes next, when the brass announce a fanfare that builds to a torrential entry of rolling drums. Anyone familiar with Berlioz’s Requiem will recognize in embryonic form the famous accumulation of four separate brass bands leading into the “Tuba mirum” as an announcement of the Last Judgment. As if he knew he would one day set the Dies irae poem he inserted the line “Tuba mirum spargens sonum coget omnes ante thronum” when he revised the Resurrexit in 1828. If there was any precedent for such a sense of grandeur, it was to be found in the huge assemblies of brass and percussion with which the Revolution celebrated its “fêtes” in the early 1790s. These came to an end a few years before Berlioz was born, so the sound had to be recre- ated in his imagination and developed in a modern work.

The remainder of the Resurrexit moves at a rapid pace with a long theme that came back to him when composing his opera Benvenuto Cellini in 1836. By that time he had abandoned the Resurrexit by absorbing it into two large-scale projects, one a choral work on the Last Judgment, the other a memorial to Napoleon. Neither was completed or performed, but when the Requiem was commissioned in 1837, he already had a good deal of material at hand that was suitable in tone and style, including the Resurrexit now transformed into the “Tuba mirum” at the climax of the Dies irae movement.

week 17 program notes 31

The recurrent recycling that Berlioz liked to impose on his work in the quest to find the right setting for the right music was well documented and understood even before the Messe solennelle was discovered. Then even more recurrences were exposed. For anyone familiar with Berlioz’s later music the shock of hearing passages from well-known works in a much earlier form was acute. The slow movement of the Symphonie fantastique, for example, is built on a theme that had already been the basis of the Gratias in the Mass; the Offertoire of the Requiem was a reworking of the Kyrie of the Mass; and the Agnus Dei was saved intact to make the “Te ergo quaesumus” in the Te Deum.

Its origin in the Messe solennelle also explains the instrumentation of the Resurrexit at the bottom of the brass section, where an ophicleide and a serpent are designated to take the line. Both were military instruments, the serpent being much used in 18th-century military bands and named, obviously, after its shape, while the ophicleide was a bass

week 17 program notes 33 version of the keyed bugle, coarse in tone and uneven in quality, though perhaps less so than a serpent. Both of these were superseded by the tuba.

The question remains: if Berlioz burned his manuscript, how do we explain its discovery in Antwerp? A note on the manuscript itself shows that he gave it to a Belgian friend, a violinist who lived and worked in Paris. The friend left it to his brother, who was for many years organist at the church in Antwerp where eventually someone was bound to notice it. What Berlioz burned was probably the piles of orchestral and choral parts he had laboriously written out himself. Once they were gone, the work could not be performed again, which was what he wanted. Would he have been so horrified to hear it again if he had lived to be 190?

Hugh Macdonald hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich and is currently writing a book on the operas of Saint-Saëns. His most recent books are “Bizet” (Oxford University Press) and “Music in 1853” (University of Rochester Press).

THEONLYPREVIOUSBSOPERFORMANCESOFBERLIOZ’S“RESURREXIT” were in the context of Berlioz’s complete “Messe solennelle,” which Seiji Ozawa led here in October 1994, followed by a New York performance in Avery Fisher Hall later that month, and then the Asian premiere in Tokyo on December 8, 1994, during a BSO tour to the Far East. Joining Ozawa and the BSO for those performances were soprano Ann Panagulias, tenor Vinson Cole, bass-baritone Gilles Cachemaille, and the Tanglewood Festival Chorus, John Oliver, conductor.

“Resurrexit”

Et resurrexit tertia die secundum scripturas. And He rose again on the third day. And Et ascendit in cœlum, sedet ad dexteram ascended into heaven, and is seated at the Patris. Et iterum venturus est cum gloria right hand of the Father. And He shall come judicare vivos et mortuos. Tuba, mirum with glory to judge both the living and the spargens sonum, coget omnes ante thron- dead. The trumpet, spreading its wondrous um. Cujus regni non erit finis. Et in sanctum sound, calls everyone before the throne. His Spiritum Dominum et vivificantem, qui ex kingdom has no end. And I believe in the Holy Patre et Filio procedit, qui cum Patre et Spirit, Lord and giver of life, who proceeds Filio simul adoratur et conglorificatur, from the Father and the Son, who with the qui locutus est per prophetas. Et in unam Father and the Son together is worshiped and sanctam apostolicam Ecclesiam. Confiteor glorified, who spoke through the prophets. unum baptisma in remissionem peccato- And in one holy apostolic Church. I confess rum. Et expecto resurrectionem mortuorum one baptism for the remission of sins. And I et vitam venturi seculi. Amen. look forward to the resurrection of the dead and the life of the world to come. Amen.

week 17 text and translation 35 Henri Dutilleux and the Boston Symphony Orchestra

This year the Boston Symphony Orchestra celebrates the centennial of Henri Dutilleux, a great presence in French music of the modern era and a profoundly important figure in the history of the Boston Symphony Orchestra. In addition to this week’s performances of Timbres, espace, mouvement, the orchestra performed Le Temps l’Horloge with conductor François-Xavier Roth and soloist Renée Fleming last month, and will perform his Métaboles under Andris Nelsons in April, on the final program of the subscription season. Also last month, the Boston Symphony Chamber Players performed four of the composer’s chamber works in an all-French concert at Jordan Hall.

BSO music director Charles Munch introduced the BSO and its audience to Dutilleux’s music in 1954 with the American premiere of the composer’s First Symphony. Also during Munch’s tenure, the composer was one of a select group commissioned to celebrate the BSO’s 75th anniversary; he responded with his Symphony No. 2, Le Double, which Munch and the BSO premiered in 1959 (see photograph below).

During Seiji Ozawa’s tenure as music director, the BSO commissioned and premiered The shadows of time (1997), and under James Levine the orchestra was a co-commissioner of Le Temps l’Horloge, a BSO 125th anniversary commission given its American premiere here in 2007. The Boston Symphony Chamber Players have performed, and in 2011 recorded for CD, the composer’s Les Citations. Other works to have figured in the BSO repertoire are his cello concerto “Tout un monde lointain...,” written for Mstislav Rostro- povich, and the 1964 orchestral work Métaboles, composed originally for the Cleveland Orchestra’s 40th anniversary. Although he taught relatively infrequently, Dutilleux’s further connections with the BSO included time at Tanglewood as a member of the TMC composition faculty in 1995 and 1998.

Robert Kirzinger S Archives BSO

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

36 Henri Dutilleux “Timbres, espace, mouvement,” ou “La Nuit étoilée”

HENRI PAUL JULIEN DUTILLEUX was born in Angers on January 22, 1916, and died in Paris on May 22, 2013, at age ninety-seven. “Timbres, espace, mouvement” (“Sounds, space, movement”), inspired by Vincent van Gogh’s painting “The Starry Night,” was commissioned by the National Symphony Orchestra, Mstislav Rostropovich, music director, for performance during Rostropovich’s inaugural season at the helm of that ensemble; Rostropovich led the National Symphony Orches- tra in the world premiere performances on January 10, 11, and 12, 1978, at the Kennedy Center in Washington, D.C. Rostropovich also led the European premiere, with the Orchestre National de France/Radio France, on December 19, 1978, at the Théâtre des Champs-Élysées, Paris. The score is dedicated to Mstislav Rostropovich and to the memory of Charles Munch; Dutilleux, while writing the piece, found himself thinking of Munch, who had died suddenly ten years earlier. In 1990, Dutilleux added an Interlude for twelve cellos between the two original movements, the first performance of this final version being given by Rostropovich and the National Symphony Orchestra on October 1, 1991, the European premiere being given in Paris that December by Charles Dutoit with the Orchestre National de France. The present performances are the first by the Boston Symphony Orchestra of “Timbres, espace, mouvement.”

THE SCORE OF “TIMBRES, ESPACE, MOUVEMENT” calls for two piccolos (also doubling flutes), two flutes (second doubling alto flute), three oboes and oboe d’amore, E-flat clarinet, two clarinets in A, and bass clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, five timpani, percussion (crotales, small and medium suspended cymbals; small, medium, and large tam-tams; small, medium, and large bongos; small, medium, and large tom- toms; snare drum, bass drum, marimba, glockenspiel), celesta, harp, and a string section of twelve cellos and ten double basses (no violins or violas). The duration of the piece is about twenty minutes.

Countless French composers tried unsuccessfully to win the great honor of the Prix de Rome and when Henri Dutilleux succeeded in 1938 he must have thought that he had it made. His hometown celebrated with a parade as the twenty-two-year-old composer looked forward hopefully to new experiences. Once in Italy the following February he

week 17 program notes 37 described his lush new surroundings at the Villa Medici as “a wonderful place, and being able to work there for four years without financial worries is a unique opportunity.” One of the things he most valued was the chance to explore Renaissance art in Rome, Florence, and surrounding areas.

The course of the Second World War caused this bright opportunity to vanish within a few months. Called back to France, Dutilleux endured the rest of the war in his home country, serving in various capacities, composing some music, and beginning what would be twenty years of employment with French Radio. Works for theater, film, radio, as well as songs and occasional pieces from this time were generally later disowned by the composer, who counted his Piano Sonata (1947-48), written for his wife, Geneviève Joy, as his Opus 1. A few years later came his brilliant First Symphony.

From the start, one of the distinctive aspects of Dutilleux’s music were the timbres he created. Not all musical elements are perceived as being equally significant. Pitch and rhythm, for example, usually seem to have greater importance than instrumentation and dynamics. We are more likely to remember a melody or a rhythmic pattern than which particular instrument played a passage or how loudly it was played. Yet French composers have long been especially sensitive to sound for its own sake. Berlioz cared far more than Beethoven about which instrument played a specific passage and also cared about how it was bowed, blown, or hit. This concern continued throughout the 19th and

week 17 program notes 39

oe iadRdoFrance Picard/Radio Roger

Henri Dutilleux (right) and Mstislav Rostropovich, for whom the composer wrote “Timbres, espace, mouvement,” December 1978

20th centuries and includes the innovations of the “Impressionists,” of Olivier Messiaen, Pierre Boulez, and of the more recent “spectralist” composers.

That Dutilleux is part of this illustrious tradition is evident in the piece we hear this week in performances marking the 100th anniversary of his birth. Timbres, espace, mouvement (“Timbres, space, movement”) not only explores the musical implications of its title, but also that of its subtitle: La Nuit étoilée (“The Starry Night”), which places it in the realm of program music. Composers usually draw extramusical programs from nature, historical events, or literary sources. Such inspirations—be it a storm, a battle, or a Shakespeare play—often translate, given the imagination of a great composer, into a musical equiva- lent. Less common are compositions that take their inspiration from the visual arts.

Dutilleux based Timbres on Van Gogh’s celebrated painting The Starry Night, and faced the challenge of how to transfer a visual medium into an auditory and temporal one. He acknowledged that “the rules of composition are very different” between painting and music, yet the energy, pulsation, and whirling qualities of Van Gogh’s masterpiece find vivid musical expression in this work. There is a certain irony in the fact that Dutilleux should be a composer to seek such visual correspondences as he was long plagued with severe problems with his eyesight.

Mstislav Rostropovich, the great Russian musician for whom Dutilleux had written the cello concerto Tout un monde lointain... in 1970, commissioned Timbres for the National Symphony. The work is dedicated to him and to the memory of Charles Munch. Although Dutilleux had known Van Gogh’s painting for decades, the gift of a handsomely illustrated edition of the painter’s letters to his brother Theo rekindled his interest in the image. (Dutilleux only saw the original painting after completing the composition.) Rostropovich conducted the premiere in Washington’s Kennedy Center in 1978 and led the European premiere later that year in Paris. In 1990 Dutilleux revised the work, adding a brief interlude for the twelve cellos between the two movements.

week 17 program notes 41 Henri Dutilleux on “Timbres, espace, mouvement”

At that time I was thinking a lot about that extraordinary, visionary canvas The Starry Night, which has always fascinated me. By a curious coincidence, Rostropovich had just commissioned me to write an orchestral piece for his first season as principal conductor and musical director of Washington’s National Symphony Orchestra in 1978-79, where he was to succeed Antal Doráti. I told myself then that I was going to use this canvas by Van Gogh—an astonishing work in terms of its cosmic and mystical dimension—to attempt something similar in the world of sound, seeking a form but, above all, an unusual type of instrumental material inspired by the curious impression of vertigo and cosmic space exuded by this canvas. And so The Starry Night was my point of departure.

You’ll remember that all the action is in the sky and that the only connection with the earth is a little church and a cypress tree in the foreground, both straining upwards and expressing a sense of movement that is itself symbolic. Between them and the heavenly vault, there is a dizzying impression of space, even of emptiness, which immediately led me, by analogy, to look for an instrumental formula from which all the violins and violas would be excluded. From the outset, therefore, this removed more than fifty musicians from the string family. By contrast, there are the woodwind, brass, and a large percussion section; and also, of course, the lower strings: twelve cellos at the front of the orchestra, surrounding the conductor in the arc of a circle. Together with the ten double basses, they form a mass of lower strings that contrast with the luminous sonorities of the woodwind and brass, with nothing at the center.

But it’s not systematic: sometimes the cellos are heard in their higher register—there is no upper limit here—and at one moment they seem to be suspended in space. I’ve talked a lot about space, but there is also the question of timbre, hence my choice of title, Timbres, espace, mouvement. Timbre is used here by analogy with Van Gogh’s colors, while movement is involved because the canvas gives the impression of movement. I’ve tried to express this in my music by having virtually static passages give way to periods of extreme agitation and great violence.

From “Henri Dutilleux: Mystère et mémoire des sons,” ©Actes Sud, 1997; translation of the above by Stewart Spencer

42 Vincent van Gogh’s “The Starry Night,” 1889 (Museum of Modern Art, New York)

To transfer Van Gogh’s colorful palette from sight to sound, Dutilleux employed a large and special orchestra. Quadruple woodwinds, prominently featuring an oboe d’amore, triple brass, extensive percussion, celesta, and harp are used with lower strings. Violins and violas are entirely omitted, and the score indicates that the twelve cellos should surround the conductor in a semi-circle.

The titles of the movements, which the composer added later, help to evoke the mood: Nébuleuse (“Nebulous”) and Constellations. Dutilleux said of the piece: “By a play of timbres, opposing the clear and luminous quality of the wind instruments in their high register with the mass of low strings, [I] tried to create an impression of vast space which the extraordinary visionary painting which is La Nuit étoilée suggested to [me]. Besides, Van Gogh himself was torn between his ardent desire to rise above earthly concerns—an almost spiritual state of mind—and the ‘appalling human passions’ of the world (see his letters to his brother Theo).” The shifting of large planes of sound builds to dramatic endings for both movements. The “mobility” of the finale, according to Dutilleux, “endeavors to approach the exalting vision presented by the great nebulous spiral at the very center of The Starry Night.”

Christopher H. Gibbs christopher h. gibbs is James H. Ottaway Jr. Professor of Music at Bard College, co-artistic director of the Bard Music Festival, executive editor of “The Musical Quarterly,” and consulting musicologist for the Philadelphia Orchestra. His books include “The Life of Schubert” and, co- authored with Richard Taruskin, “The Oxford History of Western Music, College Edition.” Program note on “Timbres, espace, mouvement” ©2016, The Philadelphia Orchestra Association, all rights reserved.

week 17 program notes 43

Hector Berlioz “Te Deum,” Opus 22, for tenor solo, double chorus, children’s chorus, organ, and orchestra

HECTOR-LOUIS BERLIOZ was born at La Côte-Saint-André (department of Isère), south of Lyon, France, on December 11, 1803, and died in Paris on March 8, 1869. Berlioz composed the “Te Deum” between December 1848 and August 1849; he conducted the first performance on April 30, 1855, in the Church of Saint-Eustache, Paris.

THE SCORE OF BERLIOZ’S “TE DEUM” calls for for tenor soloist, two choruses, children’s chorus, organ, and an orchestra of four flutes, four oboes, four clarinets, four bassoons, four horns, two trumpets, two cornets, six trombones, ophicleide (here replaced by a second tuba), tuba, timpani, bass drum, cymbals, snare drums, harps, and strings.

The Te Deum has been sung as a hymn of thanksgiving and celebration for many centuries, especially in France. Napoleon ordered a Te Deum by Paisiello, one of his favorite composers, to celebrate the Peace of Amiens in 1802; it was performed by two choirs and orchestras in Notre Dame cathedral and repeated two years later for Napoleon’s coronation there (the event that enraged Beethoven). Le Sueur, another of Napoleon’s favorite composers, supplied the Te Deum for Charles X’s grand coronation in Reims cathedral in 1825.

Berlioz’s childhood passed in time of war, with news of Napoleon’s victories arriving regularly in the little town of La Côte-Saint-André, where his father was a doctor and a respected citizen. His uncle Félix was an officer bearing scars and medals from the Peninsular War, one of the few to return alive from the Russian campaign in 1812. On March 9, 1815, when Berlioz was eleven, Napoleon passed within two miles of their house on his triumphant return from Elba, much to the alarm of the cautious Dr. Berlioz. In Paris his first teacher was Le Sueur, who had been much honored by the Emperor and who must have boasted to his young students about serving the man he so admired. In 1832, having spent over a year in Italy as winner of the Prix de Rome, Berlioz found himself returning to France along a route that reminded him of Napoleon’s victories in Italy in

week 17 program notes 45 Program page for the first Boston Symphony performance of Berlioz’s “Te Deum” on August 7, 1954, at Tanglewood with Charles Munch conducting, tenor David Poleri, organist Willem Friso Frank, and the Festival Chorus prepared by Hugh Ross and Lorna Cooke DeVaron (BSO Archives)

46 1796-97. In his notebook he jotted down the idea for a work to be called Le Retour de l’ar- mée d’Italie, a “military symphony” in two movements. The first movement was entitled “Farewell from the Alps to the Brave Men who fell on Italian Battlefields”; the second was “The Conquerors’ Triumphal Entry into Paris.” He added: “The idea came to me in Turin on 25 May 1832, on seeing the Alps again, my heart full of the Napoleonic memories aroused by the country I had just passed through.”

The grandeur and solemnity of ceremonial music inspired by the Revolution and its Napoleonic aftermath lay behind Berlioz’s own conception of choral sacred music. Best known is the Requiem, composed in 1837 for a large-scale commemoration in the Church of the Invalides. This requires an unusually large orchestra and four additional brass bands placed at the four corners of the main body. It made a powerful impression—it still does—and confirmed Berlioz’s outstanding gift for what he called “architectural” music.

The Te Deum, composed twelve years later, was a brother to the Requiem, conceived on a slightly smaller scale but still evoking the awe and magnificence of grand ceremonial music. The two large choruses balance and respond to each other. Similarly, the promi- nent organ part is designed to act in response to the orchestra, not as a part of it. Writ- ing to the Russian critic Stasov in 1847, Berlioz said: “The organ can sometimes be suc- cessfully used in sacred music by conversing with the orchestra in dialogue, but I don’t believe it can have a good effect if it sounds simultaneously with it.” Or, as he put it in his Treatise on Orchestration, “The organ and the orchestra are both kings; or rather, one is Emperor and the other is Pope.”

The disorders in the streets of Paris in 1848 convinced Berlioz that music in France was dead, especially when a Second Republic was formed. He had long given up any expecta- tion that the government was enlightened enough to commission grand new modern works. But on December 10, 1848, Louis-Napoleon, the Emperor’s nephew, was elected President of the Republic, an event on which Berlioz commented somewhat cynically in

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Louis-Napoleon (1808-73), upon whose election as President of the Republic in December 1848 Berlioz began composing his “Te Deum”

his correspondence. It has rarely been observed that he set to work on the composition of the Te Deum immediately thereafter. The election offered the likelihood of ceremonies for which grand music would be required, and there seems to be a direct connection between Louis-Napoleon’s rapid rise to power and the composition of the Te Deum, which, from so many points of view, embodies Berlioz’s image of Napoleonic glory. The new work was not an offering to the new Napoleon but a tribute to the old one at a moment in political history when Bonapartism showed a great resurgence. Berlioz’s unconcealed satisfaction when Louis-Napoleon declared himself Emperor in 1852, and his steady disil- lusionment as the Second Empire proved to be irredeemably philistine in its regard for the arts, does not alter the fact that in 1849 Berlioz was so fired by the Napoleonic spirit that he celebrated it in a grand Te Deum in nostalgic reference to the great glories of the first Empire.

When the Te Deum was finally performed six years later, the critic Maurice Bourges, who must have had inside information from Berlioz himself, wrote: This Te Deum was to have been part of a composition conceived on a colossal scale, half epic, half dramatic, and intended to celebrate the military glory of the First Consul. At the moment when General Bonaparte enters the arches of the cathedral, the Te Deum bursts forth from all directions, standards are lowered, drums beat, guns sound, and bells ring out in great peals. This explains the altogether warlike aspect of this work. This military tone is supported by two orchestral movements that are normally omitted, as they will be in these performances: a somber Prélude separated the Tibi omnes from the Dignare, and a “March for the Presentation of the Colors,” which recalls some earlier themes, was added at the end for ceremonial occasions.

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In 1851, two years after completing the work, Berlioz had the amazing experience of hearing 6000 children singing beneath the dome of St. Paul’s Cathedral when he was in London for the Great Exhibition of that year. This was, he felt, the perfect conjunction of large numbers and a large space, so he then added a third chorus to his Te Deum, a part for children’s voices. Removing a zero from the London group, he asked for 600 children’s voices, although even that number is hard to assemble anywhere. He himself likened this third chorus to the chorale line in the opening chorus of Bach’s St. Matthew Passion, which he had heard in Berlin.

Berlioz hoped that the Emperor would order a performance of his grand new work. The nephew, alas, had worse taste in music than his uncle, and never recognized the composer of the Damnation of Faust and Les Troyens in his own circle. No performance of the Te Deum was given until April 1855, when the inauguration of a new organ in the Church of Saint-Eustache, in Les Halles, called for appropriate music. Berlioz hoped that since this coincided with the opening of the Universal Exhibition of that year, it would become an official occasion and that the Emperor would attend. (As it happened, the opening of the exhibition was postponed and the Emperor did not attend.) This was the only performance in Berlioz’s lifetime.

The six choral movements alternate the grand and the humble. The opening Te Deum is broad and fugal, featuring a mighty descending scale as a principal theme, in which the children’s choir later joins. The Tibi omnes is built on three verses, each of which alter- nates the grand and the humble, like the work itself. One section of voices sings the verse (in turn sopranos, then tenors, then basses, with a different harmonization for each), leading to a mighty refrain on “Pleni sunt coeli et terra majestatis gloriae tuae” in which all forces join. The third verse has a coda attached; the strings recall the organ’s quiet introduction.

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The Dignare is meditative, beautifully constructed over an immense arching bass line. The Christe, rex gloriae is grand, the Te ergo humble, calling for a tenor soloist and a simple choral refrain. The organ is silent in both. The Judex crederis is the mightiest movement of all, starting as an unconventional fugue with each voice entering a half-step higher than the last. There are quieter contrasts, but they serve only to highlight the huge climaxes which build one upon another. The blaze of trumpets that electrifies the final chord was an inspired afterthought, squeezed awkwardly by the composer into his finished manuscript.

After the first performance, Berlioz described the work to Liszt as “colossal, Babylonian, Ninevite,” words with which Heine had evoked Berlioz in a recent book. Those huge human-headed winged bulls that adorn the Assyrian Sculpture Gallery in the British Museum arrived there in a hailstorm of publicity in 1852 (looted from Mosul?) while Berlioz was in London for some concerts. We cannot be sure if he saw them or not, but he would not have been ashamed of composing music that linked the greatest of pre- Christian empires with that of France.

Hugh Macdonald

THEFIRSTAMERICANPERFORMANCEOFBERLIOZ’S“TEDEUM” was given on December 1, 1887, by the Apollo Musical Club in Chicago, W.L. Tomlins conducting, with three soloists (Miss Griswold, Charles Knorr, and A.E. Stoddard) and organist Clarence Eddy. The first Boston performance was given on January 29, 1888, by the Handel and Haydn Society, Carl Zerrahn conducting, with a chorus of 363, an orchestra of 65, a boys’ choir of 39, and soloist William H. Fessenden. The work was performed in New York on May 5, 1891, with Walter Damrosch conducting and Italo Campanini, soloist, in the opening concert of Carnegie Hall. the first boston symphony orchestra performance of Berlioz’s “Te Deum” was given by Charles Munch on August 7, 1954, at Tanglewood (with tenor David Poleri, the “Festival Chorus” prepared by Hugh Ross and Lorna Cooke DeVaron, and organist Willem Friso Frank). The orchestra has since played the work under Colin Davis on August 13, 1972, at Tanglewood (with tenor Kenneth Riegel; the Tanglewood Festival Chorus, John Oliver, conductor; the Albany All Saints Cathedral Choir of Men and Boys, Lloyd E. Cast, Jr., director; girls from the Indian Hill School, Jerome Rosen, director; and organist Berj Zamkochian); under Colin Davis in February 1973 (with Riegel, the Tanglewood Festival Chorus; the St. Paul’s School Boy Choir, Theodore Marier, director, and Zamkochian); under Gennady Rozhdestvensky in April 1990, marking the twentieth anniversary of the Tanglewood Festival Chorus (with tenor David Gordon; the Tanglewood Festival Chorus; the Boston Boy Choir, John Dunn, director; and organist James David Christie); under Seiji Ozawa in January 1997 in Boston and at Tanglewood on August 1, 1997 (with tenor John Aler, the Tanglewood Festival Chorus, and the PALS Children’s Chorus, Johanna Hill Simpson, director, with organist James David Christie in Boston and Jeffrey Jubenville at Tanglewood); and under Colin Davis again in April/May 2009 (with tenor Matthew Polenzani; the Tanglewood Festival Chorus, John Oliver, conductor; the PALS Children’s Chorus, Alysoun Kegel, artistic director; and organist John Finney).

week 17 program notes 53 HECTOR BERLIOZ “Te Deum,” Opus 22

Te Deum laudamus (Hymn) Te Deum laudamus; te Dominum We praise Thee, o God, we conﬁtemur, acknowledge Thee to be the Lord. Te aeternum Patrem: omnis terra All the earth doth worship Thee, veneratur. the Father everlasting.

Tibi omnes angeli (Hymn) Tibi omnes angeli: tibi coeli et To Thee all angels cry aloud: the potestates; heavens and all the powers therein; Tibi cherubim et seraphim To Thee cherubim and seraphim incessabili voce proclamant: continually do cry: Sanctus, Sanctus, Sanctus: Deus Holy, Holy, Holy: Lord God of Sabaoth! Sabaoth; Pleni sunt coeli et terra majestatis Heaven and earth are full of the gloriae tuae. majesty of thy glory. Te gloriosus chorus apostolorum, The glorious company of the apostles praise Thee. Te prophetarum laudabilis The goodly fellowship of the prophets numerus, praise Thee. Te martyrum candidatus laudat The noble army of martyrs praise exercitus. Thee.

54 Te per orbem terrarum sancta The holy Church throughout all the conﬁtetur Ecclesia world doth acknowledge Thee, Patrem immensae majestatis; The Father of an inﬁnite majesty; Venerandum tuum verum et unicum Thine honorable, true, and only Filium, Son; Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost, the Comforter.

Dignare, Domine (Prayer) Dignare, Domine, die iste, sine Vouchsafe, o Lord, to keep us this day peccato nos custodire. without sin. Aeterna fac cum sanctis tuis in Make us to be numbered with Thy gloria numerari. saints in glory everlasting. Miserere nostri! miserere nostri! O Lord, have mercy upon us, have mercy upon us.

Christe, Rex gloriae (Hymn) Tu, Christe, Rex gloriae: Thou art the King of glory, o Christ: Patris sempiternus Filius. Thou art the everlasting Son of the Father. Tu, devicto mortis aculeo, When Thou hadst overcome the aperuisti credentibus regna sharpness of death, Thou didst open coelorum. the kingdom of heaven to all believers.

Tu, ad liberandum suscepturus When Thou tookest upon Thee to hominem, non horruisti deliver man, Thou didst not abhor Virginis uterum. the Virgin’s womb, Tu ad dexteram Dei sedes, in Thou sittest at the right hand of God, gloria Patris. in the glory of the Father.

Te ergo quaesumus (Prayer) Te ergo, quaesumus, famulis tuis We therefore pray Thee, help Thy subveni, quos pretioso servants, whom Thou hast redeemed sanguine redemisti. with Thy precious blood. Fiat super nos misericordia tua, O Lord, let Thy mercy lighten Domine, quemadmodum upon us, as our trust speravimus in te. is in Thee.

Judex crederis (Hymn and Prayer) Judex crederis esse venturus. We believe that Thou shalt come to be our judge, In te, Domine, speravi; non confundar O Lord, in Thee have I trusted; let me in aeternum. never be confounded. Salvum fac populum tuum et benedic O Lord, save Thy people, and bless hereditati tuae, Domine. thine heritage. Per singulos dies benedicimus, Day by day we magnify Thee, and laudamus te et laudamus we worship Thy name, ever world nomen tuum. without end.

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To Read and Hear More...

Caroline Potter’s 1997 Henri Dutilleux: His Life and Works provides an excellent introduction to the composer and his music (Ashgate). Henri Dutilleux: Mystère et mémoire des sons: Entrétiens avec Claude Glayman (“Mystery and Memory of Sounds: Conversations with Claude Glayman”), published originally in 1994 and expanded in 1997, includes several useful appendices, among them a list of works, discography, bibliography, and filmography (Actes Sud). This appeared in English translation as Henri Dutilleux: Music— Mystery and Memory (Ashgate). Gernot Gruber’s article as it appears in the 2001 New Grove Dictionary of Music and Musicians is more than twice as long as Gruber’s earlier entry in the 1980 Grove. A newer article by Caroline Potter, updated recently enough to include the composer’s final works, appears in the online version of the New Grove (oxfordmusiconline.com, by subscription). English composer Jeremy Thurlow’s Dutilleux... La musique des songes, although written in English, has been published only in French translation (Millénaire III, 2006).

Recordings of Timbres, espace, mouvement include Mstislav Rostropovich’s with the Orchestre National de France (Erato, in a seven-disc “Dutilleux Centennial Edition,” though this 1982 recording of the piece does not include the Interlude added by the composer in 1990); Semyon Bychkov’s with the Orchestre de Paris, the first recording of the work’s final version, originally on Philips (Deutsche Grammophon, in a six-disc “Henri Dutilleux Edition” issued in 2014); Yan Pascal Tortelier’s with the BBC Philharmonic (Chandos, in a four-disc set of Dutilleux’s complete orchestral works), and Hans Graf’s with the Bordeaux Aquitaine Orchestra (Arte Nova). The aforementioned sets on Erato and Deutsche Grammophon encompass all of the composer’s orchestral works and most of the chamber music, including the BSO-commissioned Symphony No. 2, Le Double; The shadows of time, and, with soprano Renée Fleming, Le Temps l’Horloge. The BSO’s release of The shadows of time was issued on an Erato CD “single” in a recording drawn from performances given here by Seiji Ozawa and the BSO in March 1998. Renée Fleming’s recording of Le Temps l’Horloge with the Orchestre National de France under Seiji Ozawa is also included on her Grammy-winning CD “Poèmes” (Decca). The Boston Symphony Chamber Players recorded the composer’s Les Citations for their Grammy-nominated disc of 20th-century French chamber music, “Profanes et Sacrées” (BSO Classics).

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A comprehensive modern Berlioz biography in two volumes—Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869— by Berlioz authority David Cairns appeared in 1999 (University of California paperback). Other useful biographies include D. Kern Holoman’s Berlioz, subtitled “A musical biography of the creative genius of the Romantic era” (Harvard University Press); Hugh Macdonald’s Berlioz, in the “Master Musicians” series (Oxford paperback), and Peter Bloom’s The life of Berlioz, in the series “Musical lives” (Cambridge University paperback). Bloom was also editor for The Cambridge Companion to Berlioz (Cambridge University paperback) and Berlioz: Past, Present, Future (Eastman Studies in Music/University of Rochester Press) and more recently produced Berlioz: Scenes from the Life and Work (also Eastman Studies in Music). Macdonald’s Berlioz article from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2 (Norton paperback, also including the 1980 Grove articles on Weber and Mendelssohn); that article was retained, with revisions to the discussion of Berlioz’s musical style, in the 2001 Grove. Macdonald also edited Selected Letters of Berlioz, an engrossing volume of the composer’s letters as translated by Roger Nichols (Norton). The best English translation of Berlioz’s Memoirs is David Cairns’s (Everyman’s Library); the much older translation by Ernest Newman also remains available (Dover paperback).

Charles Dutoit has recorded Berlioz’s Resurrexit with the Montreal Symphony Orchestra (Decca, in a two-disc set with Berlioz’s Requiem). John Eliot Gardiner recorded Berlioz’s Messe solennelle—of which the Resurrexit was originally a part—with the Monteverdi Choir and the Orchestre Revolutionnaire et Romantique (Philips). There are three recordings of the Te Deum led by Sir Colin Davis: from 1969 with the London Symphony Orchestra and Chorus, tenor Franco Tagliavini, and the Wandsworth School Boys’ Choir (Philips); live from 1998 in Dresden, with the Dresden Staatskapelle, tenor Stuart Neill, and five Dresden-based choruses (Profil); and live from 2009 with the London Symphony Orches- tra and Chorus and tenor Colin Lee (LSO Live, in a limited edition, thirteen-disc box released in 2014 to commemorate the late conductor’s longstanding relationship with the LSO). John Nelson’s recording, from February 2000, with the Orchestre de Paris, tenor Roberto Alagna, the Maitrise de Ste.-Marie Antony, and the Paris Opera Children’s Chorus, includes the two purely instrumental movements (the Prélude and the “March for the Presentation of the Colors” mentioned in the program note) typically omitted from performance (Virgin Classics), as did an older, now discontinued recording led by Eliahu Inbal (Denon).

Marc Mandel

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Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He conducts both the BSO and the Tanglewood Music Center Orchestra at Tanglewood and in the spring of 2013, substituting at short notice for Lorin Maazel, led the final three programs of the BSO’s 2013-14 subscription season, as well as, immediately following those concerts, the orchestra’s tour to China and Japan. Captivating audiences throughout the world, Maestro Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinctions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Symphony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden in London, the Metropolitan Opera in New York, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the

week 17 guest artists 61 62 International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

Paul Groves In the 2015-16 season American tenor Paul Groves made a role debut singing Rodrigue in Massenet’s Le Cid with Boston’s Odyssey Opera, returned to the Metropolitan Opera for Berg’s Lulu, made another role debut in the east coast premiere of Jennifer Higdon’s Cold Mountain with Opera Philadelphia, and returns to Opéra de Lyon for Stravinsky’s Perséphone. This year’s concert performances include a trilogy of Berlioz works—Te Deum with the Boston Symphony Orchestra, the Requiem with the San Francisco Symphony, and Roméo et Juliette with the Chicago Symphony Orchestra. In the 2014-15 season he sang his first Lohengrin, with Norwegian National Opera in Olso, and returned 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 Boston Symphony Orchestra, Cleveland Orchestra, St. Louis Symphony, Los Angeles Philharmonic, and Zurich’s Tonhalle Orchestra. Highlights of recent seasons include his first 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 the Teatro Real and Aix- en-Provence. A winner of the Met’s National Council Auditions and a graduate of the Met’s Young Artists Development Program, he made his Metropolitan Opera debut in 1992 as the Steersman 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. 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. 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 The Flying Dutchman, Tippett’s A Child of Our Time, Schoenberg’s Gurrelieder, Berlioz’s La Damnation de Faust (his most recent subscription appearances, in February 2007, with a repeat performance at Carnegie Hall), and Beethoven’s Symphony No. 9 (at Tanglewood, in August 2015). Abroad, he has sung with the Munich Philharmonic, Bayerische Rundfunk, Berlin Philharmonic, BBC Symphony, London Philharmonic, Orchestre de Paris, and 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, the Théatre de la Monnaie in Brussels, and London’s Wigmore Hall. Mr. Groves has made many DVD and CD recordings, and in 2004 performed at the Kennedy Center Honors before a live national television audience.

week 17 guest artists 63 64 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances under Andris Nelsons of Prokofiev’s Alexander Nevsky cantata, Strauss’s Elektra, Bach’s motet Komm, Jesu, komm! and chorale Es ist genug, Mendelssohn’s Midsummer Night’s Dream music, and the American premiere of Gia Kancheli’s Dixi (also performing the Prokofiev cantata and Elektra at Carnegie Hall in New York), as well as Berlioz’s Resurrexit and Te Deum under Charles Dutoit. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC this past August. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the newly created lifetime title of Founder and Conductor Laureate and will occupy a Master Teacher Chair at the Tanglewood Music Center beginning next summer. Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and

week 17 guest artists 65 orchestra (a BSO 125th Anniversary Commission). 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; 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. The ensemble 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 of 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 TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Burton Born in London, James Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John’s College, Cambridge, and holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. Mr. Burton has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlighten- ment, the Hallé Orchestra, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. In 2016 he makes his debut with the National Symphony Orchestra in Mexico. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsing- ton Opera (which awarded him the Leonard Ingrams Award in 2008). Recent engagements have included Don Giovanni and La bohème at English National Opera, Così fan tutte with English Touring Opera, and The Magic Flute for Garsington. One of the UK’s leading choral conductors, Mr. Burton served as choral director at the Hallé Orchestra from 2002-09, conducting the Hallé Choir and Hallé Youth Choir; they won the Gramophone Choral Award in 2009. He is music director of Schola Cantorum of Oxford, releasing discs for Hyperion, giving broadcasts for BBC radio and TV, and touring all over the globe. Guest conducting engagements have included the Gabrieli Consort, Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers. He works regularly with leading young musicians and has conducted at the Royal Northern College of Music, the National Youth Choirs of Great Britain, Manchester University, the University of Kentucky, Oxford University Orchestra, and, in 2017, the National Youth Choir of Japan. James Burton teaches conducting and has given master classes at the Royal Academy of Music and Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. Among his commissions are the music for the 2010 World Equestrian Games opening ceremony and The Convergence of the Twain for the 100th anniversary of the Titanic disaster. His choral works are published by Edition Peters.

66 Tanglewood Festival Chorus James Burton, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Berlioz Resurrexit and Te Deum, February 2016) 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

Deborah Abel • Emily Anderson • Deborah Coyle Barry • Aimée Birnbaum • Joy Emerson Brewer • Valeska Cambron • Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Bridget Dennis • Emilia DiCola • Christine Pacheco Duquette* • Ashley Gryta • Beth Grzegorzewski • Carrie Louise Hammond • Cynde Hartman • Kathy Ho • Eileen Huang • Donna Kim • Jane Labriola • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Kimberly Pearson • Livia M. Racz • Melanie Salisbury # • Laura C. Sanscartier • Johanna Schlegel • Sandra J. Shepard • Joan P. Sherman § • Nora Anne Watson • Lauren Woo mezzo-sopranos

Anete Adams • Martha Reardon Bewick • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste # • Barbara Durham • Debra Swartz Foote • Dorrie Freedman § • Irene Gilbride* • Denise Glennon • Mara Goldberg • Ana Guigui • Betty Jenkins • Irina Kareva • Susan L. Kendall • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Eve Kornhauser • Gale Tolman Livingston # • Louise Morrish • Fumiko Ohara # • Andrea Okerholm Huttlin • Maya Pardo • Roslyn Pedlar # • Laurie R. Pessah • Kathleen Hunkele Schardin • Anne K. Smith • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Christina Wallace Cooper # • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox tenors

Brent Barbieri • John C. Barr # • Felix M. Caraballo • Jiahao Chen • Stephen Chrzan • John Cunningham • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • James E. Gleason • J. Stephen Groff # • David Halloran # • John W. Hickman # • William Hobbib • Matthew Jaquith • James R. Kauffman # • Thomas Kenney • Kwan H. Lee • Henry Lussier § • Ronald J. Martin • Mark Mulligan • Kevin Parker • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Lee Ransom • Tom Regan • Brian R. Robinson • David Roth • Arend Sluis • Peter L. Smith • Hyun Yong Woo basses

Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks # • Stephen J. Buck • Eric Chan • Mark Gianino • Jim Gordon • Mark L. Haberman # • Marc J. Kaufman • David M. Kilroy • Yangming Kou • Bruce Kozuma # • Christopher T. Loschen • Greg Mancusi-Ungaro • Richard Oedel • Stephen H. Owades § • William Brian Parker • Donald R. Peck # • Michael Prichard # • Bradley Putnam • Steven Rogers • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf # • Scott Street • Charles Sullivan • Stephen Tinkham • Bradley Turner # • Thomas C. Wang # • Terry Ward # • Matt Weaver • Lawson L.S. Wong • Carl T. Wrubel

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

week 17 guest artists 67

Voices Boston Steven Lipsitt, Artistic Director Voices Boston was founded as Performing Artists at Lincoln School (PALS Children’s Chorus) in 1990 by Johanna Hill Simpson at W.H. Lincoln School, a public school in Brookline, Massa- chusetts. It was designed as a privately funded, after-school program for Lincoln students, providing training in choral singing, dance, and drama. During her tenure, Ms. Simpson built relationships with leading arts organizations that are strong to this day, including those with the Boston Symphony Orchestra and Boston Pops, Cantata Singers, Boston Lyric Opera, and Boston Early Music Festival. After Johanna Hill Simpson’s retirement, Alysoun Kegel extended PALS membership to children beyond Lincoln School, leading to growth in diversity and size. In 2011, the PALS board recruited Andy Icochea Icochea, a choral director of international renown, as artistic director. He introduced a more systematic vocal training framework, created an intermediate ensemble, expanded the training choruses, and led the ensemble’s first national and international tours. To reflect its broader reach and national and international collaborations, and in antici- pation of its 25th anniversary in 2015, PALS was renamed Voices Boston in 2014. In late 2015, Steven Lipsitt became the ensemble’s new artistic director. With singing at its core and training in dance and drama, Voices Boston changes the lives of its children, building confidence, discipline, leadership, and a love of music that will last a lifetime. Steven Lipsitt Steven Lipsitt has prepared choruses for Robert Shaw, Seiji Ozawa, and Leonard Slatkin; has prepared orchestras for Kurt Masur, Luciano Berio, and Gunther Schuller; and has conducted for Boston Lyric Opera, the Kennedy Center Opera House, and Scottish Opera. First prize-winner of the Dimitri Mitropoulos International Conducting Competition in Athens, he has led orchestras in North and South America, Europe, and Asia. Director of Choruses at Boston University for six years, he led the first Tanglewood performances of Britten’s Cantata academica, as well as a performance of Bernstein’s Chichester Psalms during the “Bernstein at 70” summer. Artistic director of Voices Boston since late November 2015, he is in his seventeenth season as music director of the Boston Classical Orchestra. His work has twice been recognized as the “Best in Classical Music” by the Boston Globe’s year-end wrap-up. Steven Lipsitt studied at Yale and Tanglewood as a clarinetist, singer, and conductor. Voices Boston Steven Lipsitt, Artistic Director

Alyssa Ahn • Caroline Andersen • Delphine Armand • Grace Baas • Dessie Bell-Kamen • Sabrina Bergin • Armaan Bhojwani • Jade Blais-Ellis • Maiya Cicmil • Christopher From • Sarah Gleba • Molly Greenwold • Anamaria Grieco • Hugo Harrington • Jaquovia Higgs • Elina Kasida • Ben Kiel • Veronika Kirsanova • Marlyn Li • Kevin Liao • Chloe Locke • Miles Luther • Ileana Menchu • Emiko Neuwalder • Sofia Noyes • Ethan O’Gara • Charlie Perdue • Margaret Pirozzolo • Amita Polumbaum • Hanna Racz-Kozuma • Eleanor Raine • Ella Sakura Rosenthal • Olivia Sarkis • Dhruva Schlondorff • Agnes Shales • Frances Smith • Cecilia Viana • Francisco Viana • Rayee Wang • Lily Waters • Sophia Wolfe • Iris Yang

week 17 guest artists 69 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 • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • 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 • Kristin and Roger Servison • 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 (3)

70 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 ‡ • 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 ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • 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 ‡ • John Hancock Financial • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • 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 • The Claudia and Steven Perles Family Foundation • 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 • 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 (7)

‡ Deceased

week 17 the great benefactors 71

The 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 during the 2015-16 season. ‡ 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 • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • 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

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 21, 2015. For further information on becoming a Higginson Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor.

founders $100,000+ Peter and Anne Brooke • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

week 17 the maestro circle 73 encore $25,000 to $49,999 Noubar and Anna Afeyan • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. ‡ and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Mr. and Mrs. Jeffrey E. Marshall • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Vernon R. Alden • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David ‡ Arnold • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Jill K. Conway • Ernest Cravalho and Ruth Tuomala • Sally Currier and Saul Pannell • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Pamela Everhart and Karl Coiscou • Mr. Earl N. Feldman and Mrs. Sarah Scott • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Dr. Rebecca Henderson • Mrs. Nancy R. Herndon • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockﬁeld and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip Sharp • Solange Skinner • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (7)

week 17 the higginson society 75 76 sponsor $5,000 to $9,999 Helaine B. Allen • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Phyllis Dohanian • Happy and Bob Doran • Julie and Ronald M. Druker • Mrs. Richard S. Emmet • Priscilla Endicott • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Mrs. Barbara Haynes • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Seth A. and Beth S. Klarman • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Ms. Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merriﬁeld and Wayne Davis • Mr. and Ms. John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Mr. and Mrs. Michael Rater • Peter and Suzanne Read • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Mr. and Mrs. William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Mr. James Sun • Patricia L. Tambone • Tazewell Foundation • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Matthew and Susan Weatherbie • Ruth and Harry Wechsler • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

week 17 the higginson society 77 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Shirley and Walter ‡ Amory • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Mr. and Mrs. Frederic D. Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Mrs. Philip W. Bianchi • Mrs. Stanton L. Black • Dr. and Mrs. Neil R. Blacklow • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mrs. Assunta Cha • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Dr. and Mrs. Francis de Marneffe • Pat and John Deutch • Relly and Brent Dibner • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Dr. Mark Epstein and Ms. Amoretta Hoeber • Peter Erichsen and David Palumb • Elizabeth and Frederic Eustis • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Mr. and Mrs. Ronald Feinstein • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. ‡ Freedman • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Nelson S. Gifford • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Adele C. Goldstein • Harriet and George Greenﬁeld • Paula S. Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew •

78 David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mary and Harry Hintlian • Mr. and Mrs. Peter K. Hoffman • Pat and Paul Hogan • Mr. and Mrs. Charles Hood • Cerise Lim Jacobs, for Charles • Mr. and Mrs. William Jannen • Susan Johnston • Ms. Teresa Kaltz • Elizabeth Kent • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Margaret and Joseph Koerner • Susan G. Kohn • Dr. and Mrs. David Kosowsky • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. William Leatherman • Emily Lewis • Alice Libby and Mark Costanzo • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Mr. Vincent J. Mayer and Ms. Dana Lee • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Mr. and Mrs. James Mellowes • Richard S. Milstein, Esq. • Anne M. Morgan • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • John O’Leary • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Mr. Peter Parker and Ms. Susan Clare • Dr. and Mrs. Bruce Pastor • Mr. and Mrs. Michael Payne • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Mr. Richard Rawal • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal • Judy and David Rosenthal • Ms. Francine Rosenzweig • Mr. and Mrs. Henry Rosovsky • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Joanne Zervas Sattley • Jonathan Saxton • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Betsy and Will Shields • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanﬁll • In honor of Ray and Maria Stata • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Mr. John Stevens and Ms. Virginia McIntyre • Fredericka and Howard Stevenson • Galen and Anne Stone • John and Katherine Stookey • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Mr. and Mrs. Christopher Viehbacher • Ms. Ellen B. Widmer • Howard and Karen Wilcox • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • The Workman Family • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (13)

week 17 the higginson society 79

Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2014-15 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above EMC Corporation, William J. Teuber, Jr. • Fidelity Investments

$250,000 - $499,999 Bank of America, Anne M. Finucane • Fairmont Copley Plaza and Fairmont Hotels & Resorts, Paul Tormey, Jane Mackie

$100,000 - $249,999 American Airlines, Jim Carter • Arbella Insurance Foundation, John F. Donohue • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Fromm Music Foundation • Miriam Shaw Fund • National Endowment for the Arts

$50,000 - $99,999 Dick and Ann Marie Connolly • The Ann and Gordon Getty Foundation • The Geoffrey C. Hughes Foundation • Google Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • John Hancock, Craig Bromley • Massachusetts Cultural Council • National Historical Publications And Records Commission • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Suffolk Construction, John F. Fish • Visit Sarasota County Florida

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Eversource Energy, Thomas J. May • Farley White Interests, Roger W. Altreuter, John F. Power •

week 17 corporate, foundation, and government contributors 81 82 Elizabeth Taylor Fessenden Foundation • Gerondelis Foundation • Goodwin Procter LLP, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Hill Holliday, Karen Kaplan • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lowell Institute • The Lynch Foundation • The McGrath Family/Holly and David Bruce/The Highland Street Foundation • Natixis Global Asset Management, John T. Hailer • Parthenon-EY, William F. Achtmeyer • State Street Corporation, Joseph L. Hooley • Waters Corporation, Douglas A. Berthiaume • Edwin S. Webster Foundation • Wilmington Trust, N.A., William M. Parizeau • Wynn Resorts, Steve Wynn • Yawkey Foundation II

$15,000 - $24,999 Accenture, Richard P. Clark • The Harold Alfond Foundation • Arnold Worldwide, Pam Hamlin • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Private, Clayton G. Deutsch • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • The Cleary Family • Clough Capital Partners, LP, Charles I. Clough, Jr. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • Gerald R. Jordan Foundation, Darlene L. Jordan • Macy’s • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • Morgan, Lewis & Bockius LLP, Catherine Curtin • New Balance Foundation, Anne and Jim Davis • The New England Foundation, Joseph C. McNay • OvaScience, Michelle Dipp • PwC, Barry R. Nearhos • The Alice Ward Fund of The Rhode Island Foundation • Saracen Properties LLC, Kurt W. Saraceno • Ernst von Siemens Music Foundation • The TJX Companies, Inc., Carol Meyrowitz • Sandra A. Urie and Frank F. Herron • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Analog Devices, Inc., Ray Stata • Arthur J. Gallagher & Co., Patrick Veale • Boston Biotech Conferences • Boston Seed Capital, LLC, Nicole Maria Stata • Cabot Corporation, Martin O’Neill • CBS Boston’s WBZ-TV and WSBK-TV, Mark Lund • Charles River Laboratories, Inc., James C. Foster • Colliers International, Thomas J. Hynes, Jr., Kevin C. Phelan • Deluxe Corporation Foundation • EY, George R. Neble • Fiduciary Trust Company, Austin Shapard • Flex Pharma, Christoph Westphal • FTI Consulting, Stephen J. Burlone • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell • Houghton Mifflin Harcourt, Linda Zecher • Ironshore, Kevin H. Kelley • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Kaufman & Company, LLC, Sumner Kaufman • Koussevitzky Music Foundation • The Kraft Group/New England Patriots Charitable Foundation • Roger and Myrna Landay Charitable Foundation • Loomis, Sayles & Company, Kevin Charleston • Mid Atlantic Arts Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Navigator Management, Thomas M. O’Neill • New England Development, Stephen R. Karp • Joe and Kathy O’Donnell • People’s United Bank, Patrick J. Sullivan • Raytheon Company •

week 17 corporate, foundation, and government contributors 83

Billy Rose Foundation • Maurice Samuels • Santander Bank, N.A., Roman Blanco • Saquish Foundation • Signature Printing & Consulting, Woburn, MA, Brian Maranian • Silicon Valley Bank, Pamela Aldsworth • Staples, Inc., Ronald L. Sargent • TA Associates Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • Tufts Health Plan, Thomas Croswell • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Atlantic Trust Private Wealth Management • Barclays • Berkshire Bank • Berkshire Partners LLC • The Beveridge Family Foundation, Inc. • BioPharma Executive Council • BJ’s Wholesale Club • Blake & Blake Genealogists • The Boston Globe • Karen S. Bressler and Scott M. Epstein • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Citizens Bank • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • DTZ • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Dellbrook Construction • Demoulas Foundation • The Drew Company, Inc. • Gaston Dufresne Foundation • Elite Equine Imports • Eneas International • General Catalyst Partners • Greater Boston Chamber of Commerce • Harvard Pilgrim Health Care • The Clayton F. and Ruth L. Hawkridge Foundation • High Output, Inc. • IBM • Jack Madden Ford • Lucia B. Morrill Charitable Foundation • The E. Nakamichi Foundation • National Trust Insurance Services, LLC • Nutter McClennen & Fish LLP • Judy and Steve Pagliuca • Partners HealthCare • Abraham Perlman Foundation • The Red Sox Foundation • Related Beal • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • The Studley Press, Inc. • United Liquors Ltd. • Verizon • W.B. Mason Co., Inc. • The George R. Wallace Foundation • Wells Fargo Advisors, LLC • Stetson Whitcher Fund • Willis of Massachusetts, Inc. • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf & Company, P.C. • Wolf, Greenfield & Sacks, P.C. • Oliver Wyman • Anonymous

$2,500 - $4,999 Allied Printing Services, Inc. • The Arts Federation • Biogen Idec Foundation • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Chubb Group of Insurance Companies • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund • Gryphon International Investment Corp. • Hoche-Scofield Foundation • The Krentzman Family • Martignetti Companies • National Development • NorBella • Oxford Fund • P.J. Spillane Company • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Verrill Dana • Anonymous

week 17 corporate, foundation, and government contributors 85 BSO Season Sponsors 2015–16 Season

Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2015-16 season. Bank of America's support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonproﬁt arts institutions that deliver the visual Miceal Chamberlain and performing arts, provide inspirational and educational sustenance, Massachusetts President, anchor communities, create jobs, augment and complement existing school Bank of America offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efﬁcient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reﬂect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. 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].

86 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman and CEO outreach programs give both area students and students from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the ofﬁcial hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

Commonwealth Worldwide Chauffeured Transportation is proud to be the Ofﬁcial Chauffeured Transportation of the Boston Symphony Orchestra Dawson Rutter and Boston Pops. The BSO has delighted and enriched the Boston com- President and CEO munity 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.

week 17 bso season sponsors and season supporting sponsors 87

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator and Director of Tanglewood 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 Operating and Communications Ofﬁcer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/ Audition Coordinator 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 • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Robin Moxley, 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

week 17 administration 89 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 Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • 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 • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • 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 • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, 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 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

week 17 administration 91 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, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations 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 Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Leslie Kwan, Associate Director of Marketing Promotions and Events • George Lovejoy, SymphonyCharge Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • 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 • Meaghan O’Rourke, Internet Marketing and Social Media Manager • 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 • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager

Jane Esterquest, Box Office Administrator • Arthur Ryan, Box Office Representative 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

week 17 administration 93

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Gerald L. Dreher Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Mary Gregorio • Trish Lavoie Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Carolyn Ivory boston project leads 2015-16

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, George Mellman • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Richard Pokorny • Recruitment, Retention, Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 17 administration 95 Next Program…

Thursday, March 3, 8pm Friday, March 4, 1:30pm Saturday, March 5, 8pm

charles dutoit conducting

ravel “rapsodie espagnole” Prelude à la nuit Malagueña Habanera Feria

falla “nights in the gardens of spain,” symphonic impressions for piano and orchestra In the Generalifé Distant dance In the gardens of the Sierra de Córdoba javier perianes

{intermission}

ravel “l’heure espagnole” (“the spanish hour”), comic opera in one act (concert performance, sung in french with english supertitles) daniela mack, mezzo-soprano (concepción) benjamin hulett, tenor (gonzalve) jean-luc ballestra, baritone (ramiro) david wilson-johnson, bass-baritone (don iñigo)

For Charles Dutoit’s second week of concerts this season, the Swiss conductor leads three Spain- centered works. Maurice Ravel’s delightful one-act comic opera L’Heure espagnole, presented here in a concert performance, details the amorous intrigues of a clockmaker’s wife (mezzo- soprano Daniela Mack as Concepción) and her gentleman friends. Rapsodie espagnole balances impressionistic atmosphere with Spanish dances. In between the Ravel pieces is the Spanish composer Manuel de Falla’s magical Nights in the Gardens of Spain, a sparkling work for piano and orchestra here featuring Spanish soloist Javier Perianes in his BSO debut.

96 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘B’ March 3, 8-10:10 Sunday, March 13, 3pm Friday ‘A’ March 4, 1:30-3:40 Jordan Hall, New England Conservatory

Saturday ‘A’ March 5, 8-10:10 BOSTONSYMPHONYCHAMBERPLAYERS CHARLESDUTOIT, conductor with GARRICKOHLSSON, piano JAVIER PERIANES , piano ALL- String Trio in C minor, Op. 9, DANIELAMACK, mezzo-soprano (Concepción) BEETHOVEN No. 3 BENJAMINHULETT, tenor (Gonzalve) PROGRAM Quintet in E-flat for piano FRANÇOISPIOLINO, tenor (Torquemada) and winds, Op. 16 JEAN-LUCBALLESTRA, baritone (Ramiro) Duet in E-flat “with two DAVID WILSON-JOHNSON, bass-baritone obbligato eyeglasses,” (Don Iñigo) WoO 32, for viola and double bass RAVEL Rapsodie espagnole Piano Trio in E-flat, Op. 70, FALLA Nights in the Gardens of Spain, No. 2 for piano and orchestra RAVEL L’Heure espagnole (sung in Spanish with English Thursday, March 17, 10:30am (Open Rehearsal) supertitles) Thursday ‘A’ March 17, 8-9:55 Saturday ‘A’ March 19, 8-9:55 Thursday ‘D’ March 10, 8-9:40 STÉPHANEDENÈVE, conductor Friday ‘B’ March 11, 1:30-3:10 GILSHAHAM, violin Saturday ‘B’ March 12, 8-9:40 JAMES DAVID CHRISTIE, organ Tuesday ‘B’ March 15, 8-9:40 HIGDON blue cathedral HERBERTBLOMSTEDT, conductor WILLIAMS Violin Concerto GARRICKOHLSSON, piano SAINT-SAËNS Symphony No. 3, Organ ALL- Piano Concerto No. 1 Symphony BEETHOVEN Symphony No. 7 PROGRAM Friday Evening March 18, 8-9:25 (Casual Friday, with introductory comments by a BSO member and no intermission) STÉPHANEDENÈVE, conductor Programs and artists subject to change. GILSHAHAM, violin JAMES DAVID CHRISTIE, organ WILLIAMS Violin Concerto SAINT-SAËNS Symphony No. 3, Organ Symphony

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 17 coming concerts 97 Symphony Hall Exit Plan

98 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Ofﬁce at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 17 symphony hall information 99 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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