BOSTON SYM PHONY ORCHESTRA

JAMES LEVINE MUSIC DIRECTOR

BERNARD HAITINK CONDUCTOR EMERITUS

SEIJI OZAWA MUSIC DIRECTOR LAUREATE • a (tie. Leaa richer J

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Official | Hospital of the Boston Red Sox Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007

Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman

John F. Cogan, Jr., Vice- Chairman Robert P. O'Block, Vice-Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer

George D. Behrakis Cynthia Curme Robert J. Mayer, M.D. Arthur I. Segel Gabriella Beranek William R. Elfers Nathan R. Miller Thomas G. Sternberg

Mark G. Borden Nancy J. Fitzpatrick Richard P. Morse Wilmer J. Thomas, Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-officio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters Paul Buttenwieser George Krupp Edward I. Rudman Eric D. Collins Shari Loessberg, ex-qfficio Hannah H. Schneider

Life Trustees

Harlan E. Anderson James F. Geary Avram J. Goldberg Peter C. Read Vernon R. Alden Julian Cohent Edna S. Kalman Richard A. Smith David B. Arnold, Jr. Abram T. Collier George H. Kidder Ray Stata

J. P. Barger Mrs. Edith L. Dabney R. Willis Leith, Jr. John Hoyt Stookey

Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer John L. Thorndike Deborah Davis Berman Nina L. Doggett Mrs. Robert B. Newman Dr. Nicholas T. Zervas

Peter A. Brooke Mrs. John H. Fitzpatrick William J. Poorvu Helene R. Cahners Dean W. Freed Irving W Rabb Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chairman

William F Achtmeyer Joseph F Fallon Robert Kleinberg Dr. Tina Young Poussaint

Diane M. Austin Thomas E. Faust, Jr. Farla H. Krentzman James D. Price Lucille M. Batal Judith Moss Feingold Peter E. Lacaillade Claire Pryor

Maureen Scannell Steven S. Fischman Renee Landers Patrick J. Purcell

Bateman John F Fish Robert J. Lepofsky John Reed

Linda J.L. Becker Lawrence K. Fish Christopher J. Lindop Donna M. Riccardi George W Berry Myrna H. Freedman John M. Loder Susan Rothenberg James L. Bildner Carol Fulp Edwin N. London Alan Rottenberg Bradley Bloom Dr. Arthur Gelb Jay Marks Joseph D. Roxe Anne F Brooke Stephanie Gertz Jeffrey E. Marshall Kenan Sahin

Gregory E. Bulger Robert P. Gittens Carmine Martignetti Ross E. Sherbrooke William Burgin Michael Gordon Joseph B. Martin, M.D. Gilda Slifka Ronald G. Casty Paula Groves Thomas McCann Christopher Smallhorn Rena F Clark Michael Halperson Joseph C. McNay John C. Smith Carol Feinberg Cohen Carol Henderson Albert Merck Charles A. Stakely

Mrs. James C. Collias Brent L. Henry Dr. Martin C. Mihm, Jr. Patricia L. Tambone Charles L. Cooney Susan Hockfield Robert Mnookin Samuel Thorne Ranny Cooper Osbert M. Hood Paul M. Montrone Albert Togut

James C. Curvey Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Tamara P. Davis William W Hunt Evelyn Stefansson Nef Joseph M. Tucci Mrs. Miguel de Braganca Ernest Jacquet Robert T O'Connell Paul M. Verrochi Disque Deane Everett L. Jassy Susan W Paine Robert S. Weil Paul F Deninger Charles H. Jenkins, Jr. Joseph Patton David C. Weinstein Ronald M. Druker Darlene Luccio Jordan, Ann M. Philbin James Westra Alan J. Dworsky Esq. May H. Pierce Mrs. Joan D. Wheeler Alan Dynner Paul L. Joskow Claudio Pincus Richard Wurtman, M.D. Ursula Ehret-Dichter Stephen R. Karp Joyce L. Plotkin Dr. Michael Zinner

John P. Eustis II Brian Keane Dr. John Thomas Potts, Jr. D. Brooks Zug Pamela D. Everhart Douglas A. Kingsley Overseers Emeriti

Helaine B. Allen Peter H.B. Frelinghuysen Mrs. Gordon F. Kingsley John Ex Rodgers Marjorie Arons-Barron Mrs. Thomas David I. Kosowsky Mrs. Jerome Rosenfeld Caroline Dwight Bain Galligan, Jr. Robert K. Kraft Roger A. Saunders Sandra Bakalar Mrs. James Garivaltis Benjamin H. Lacy Lynda Anne Schubert Mrs. Levin H. Campbell Jordan Golding Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles Mark R. Goldweitz Hart D. Leavitt L. Scott Singleton

Joan P. Curhan John Hamill Frederick H. Lovejoy, Jr. Mrs. Micho Spring Phyllis Curtin Deborah M. Hauser Diane H. Lupean Patricia Hansen Strang Betsy P. Demirjian Mrs. Richard D. Hill Mrs. Charles P. Lyman Robert A. Wells JoAnne Walton Dickinson Marilyn Brachman Mrs. Harry L. Marks Mrs. Thomas H.P. Phyllis Dohanian Hoffman Barbara Maze Whitney Goetz B. Eaton Lola Jaffe John A. Perkins Margaret Williams- Harriett Eckstein Michael Joyce Daphne Brooks Prout DeCelles George Elvin Martin S. Kaplan Robert E. Remis Mrs. Donald B. Wilson

J. Richard Fennell Mrs. S. Charles Kasdon Mrs. Peter van S. Rice Mrs. John J. Wilson

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Richard Dixon, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Howard Cutler, Executive Gerald Dreher, Treasurer Vice-President/Fundraising Leah Weisse, Nominating Chair

Patty Geier, Education and Pat Kavanaugh, Membership Beverly Pieper, Hall Services Outreach Rosemary Noren, Symphony Shop Janis Su, Public Relations Mary Gregorio, Special Projects Staffing

Table of Contents

BSO News 5 On Display in Symphony Hall 6 BSO Music Director James Levine 10 The Boston Symphony Orchestra 12 This Week's Boston Symphony Orchestra Program 15 Notes on the Program 17 Guest Artists 45 Future Programs 68 Symphony Hall Exit Plan 70 Symphony Hall Information 71

This week's Pre-Concert Talks are given by Jan Swafford, Tufts University.

Program copyright ©2007 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston

Cover photograph by Michael J. Lutch Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fullyfunded in perpetuity

Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales, Marketing, Ellen Highstein, Director of Tanglewood Music Center and Communications

Tanglewood Music Center Directorship, endowed in honor of Caroline Taylor, Senior Advisor to the Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director

Bernadette M. Horgan, Director of Media Relations Ray F. Wellbaum, Orchestra Manager Thomas D. May, Chief Financial Officer ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Senior Archivist—Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Concert Operations Coordinator

BOSTON POPS

Dennis Alves, Director of Artistic Planning Sheri Goldstein, Personal Assistant to the Conductor Margo Saulnier, Assistant Director of Artistic Planning

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller

Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Theany Uy, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT

Nancy Baker, Director of Major and Planned Giving Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director of Development Special Events Bart Reidy, Director ofDevelopment Communications Mia Schultz, Director of Development Administration

Stephanie Baker, Major and Planned Giving Coordinator • Cullen Bouvier, Executive Assistant to the Director of Development • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Kerri Cleghorn, Associate Director, BSO Business Partners • Joseph Gaken, Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Assistant Manager of Friends Membership • Amy Hsu, Membership Manager, Annual Funds • Andrea Katz, Coordinator of Special Events • Justin Kelly, Associ- ate Manager of Development Operations • Nicole Leonard, Manager of Planned Giving • Ryan Losey, Associate Director of Foundation and Government Relations • Pamela McCarthy, Manager of Prospect Research • Cynthia Morgan, Development Donor Information and Data Coordinator • Jennifer Raymond,

Associate Director, Friends Membership • Sarah Razer, Gift Processing and Donor Records Assistant • Katie Schlosser, Coordinator of Annual Fund Projects • Yong-Hee Silver, Manager, Higginson and Fiedler Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Associate Director of Development Corporate Events • Laura Wexler, Assistant Manager of Development Communications • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • Darlene White, Manager, Berkshire Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Tony Bennett, Cafe Supervisor • Lesley Ann Cefalo, Event Services Business and Sales Manager • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES C. Mark Cataudella, Director of Facilities

Symphony Hall Michael Finlan, Switchboard Supervisor • Susan Johnson, Facilities Coordinator • Tyrone Tyrell, Facilities Services Lead • Shawn Wilder, Mailroom Clerk

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Dwight Caufield • Eric Corbett • Thomas Davenport • Michael Frazier • Peter O'Keefe Cleaning Crew Desmond Boland • Julien Buckmire • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gaho Boniface Wahi

Tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires HUMAN RESOURCES Kathleen Sambuco, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator • Brian Van Sickle, User Support Specialist PUBLIC RELATIONS Kathleen Drohan, Associate Director of Media Relations • Marni Glovinsky, Media Relations Coordinator • Joseph Heitz, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator /Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Manager, Subscription Office Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Buyer for Symphony Hall and Tanglewood Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Erin Glennon, Graphic Designer • Julie Green, Subscription Representative • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Man- ager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce Marketing Analyst • MarcyKate Perkins, SymphonyCharge Representative • Clint Reeves, Graphic Designer • Doreen Reis, Marketing Coordinator for Advertising • Andrew Russell, Manager, Major Corporate Sponsor Relations • Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan TANGLEWOOD MUSIC CENTER Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Directorfor Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling VOLUNTEER OFFICE Mia Schultz, Interim Director of Volunteer Services Sabine Chouljian, Assistant Managerfor Volunteer Services BSO Boston Symphony Orchestra Announces 2007-08 Season

BSO Music Director James Levine will open the Boston Symphony Orchestra's 127th season on October 4, 2007, leading mezzo-soprano Susan Graham and pianist Jean-Yves Thibaudet in a special Opening Night all-Ravel program; he will close the season in late April/early May of 2008 with unprecedented BSO concert performances of Berlioz's epic opera, Les Troyens. The BSO's 2007-08 season will feature a wide variety of the reper- toire's most compelling works, among them Mahler's First and Ninth symphonies, and Das Lied von der Erde, under Maestro Levine; Smetana's complete Md Vlast, also under Levine (the work's first complete Symphony Hall performances by the BSO in 35 years); Bach's St. Matthew Passion, to be led by BSO Conductor Emeritus Bernard Haitink; Beethoven's Fifth Symphony under Christoph von Dohnanyi; Bruckner's Symphony No. 9 under Marek Janowski; Elgar's The Dream of Gerontius under Sir Colin Davis; Mussorg- sky's Pictures at an Exhibition, and Strauss's Don Juan, Till EulenspiegeVs Merry Pranks, and An Alpine Symphony, under Rafael Friihbeck de Burgos; Saint-Saens's Organ Sym- phony led by Charles Dutoit, with organist James David Christie; Shostakovich's Sym- phony No. 5 with Daniele Gatti, and Tchaikovsky's Pathetique Symphony with Robert Spano conducting. In addition (and among other things), Maestro Levine conducts the world premieres of Elliott Carter's Horn Concerto with BSO principal James Sommerville, William Bol- com's Symphony No. 8 with the Tanglewood Festival Chorus, and John Harbison's Sym- phony No. 5, as well as the American premiere of Henri Dutilleux's Le Temps VHorlage with soprano Ren6e Fleming. He also leads the BSO in the two Brahms piano concertos with soloist Evgeny Kissin, and appears as pianist with German bass-baritone Thomas Quasthoff in a performance of Schubert's Winterreise. The roster of guest conductors also includes Mark Elder, Miguel Harth-Bedoya, and, in their BSO debuts, two alumni of the Tanglewood Music Center—newly appointed BSO Assistant Conductor Julian Kuerti and German conductor Markus Stenz. Also among next season's soloists are pianists Leif Ove Andsnes (for Rachmaninoff's Piano Concerto No. 2), Leon Fleisher (Beethoven's Emperor Concerto), Garrick Ohlsson (the Schumann concerto), Andr&s Schiff (Bartok's Piano Concerto No. 3), Peter Serkin (Berg's Chamber Concerto for piano and violin with thirteen wind instruments, also to feature violinist Isabelle Faust), Mitsuko Uchida (Mozart's Piano Concerto No. 23 in A, K.488), and Lars Vogt (Beethoven's Third Concerto); cellists Yo-Yo Ma (Golijov's Ausencia and Azul)

and Truls M0rk (Shostakovich's Cello Concerto No. 1); organist Simon Preston (Poulenc's Concerto for Organ, Timpani, and Strings); BSO principal harpist Ann Hobson Pilot (Martin's Petite Symphonie concertante, also featuring pianist Randall Hodgkinson and harpsichordist Mark Kroll); and violinists Viviane Hagner (Prokofiev's Violin Concerto

No. 1), Vadim Repin (the Sibelius concerto), Christian Tetzlaff (the Berg concerto), and Frank Peter Zimmermann (Mozart's Violin Concerto No. 2, and the American premiere of Australian composer Brett Dean's The Lost Art of Letter Writing). Also among the vocal soloists to be featured with the orchestra are Anne Sofie von Otter and Johan Botha in Das Lied von der Erde; Sarah Connolly, Ben Heppner, and Gerald Finley in The Dream of Gerontius; Thomas Quasthoff in songs of Schubert as orchestrated by Webern, Reger, and Offenbach; Ian Bostridge as the Evangelist in Bach's St. Matthew Passion; and Marcello Giordani (as Aeneas), Yvonne Naef (Cassandra), Anne Sofie von Otter (Dido), and Dwayne Croft (Chorebus) in Les Troyens. For information on subscriptions for the Boston Symphony Orchestra's 2007-08 season, please call (617) 266-7575 or 1-888-266-7575; or visit the BSO's website, www.bso.org. Brochures with complete program and ticket information for the 2007-08 subscription season will be available in April, at which time subscribers will receive their renewal information in the mail. Others may request a brochure by calling (617) 266-1492; by visiting www.bso.org, or by writing to BSO 2007-08 Brochure, Symphony Hall, Boston, MA 02115.

Boston Symphony Chamber Players Hall box office, or online at www.bso.org. Sunday, May 6, at 3 p.m. at On the day of the concert, tickets are avail- Jordan Hall at the New England able only at the Jordan Hall box office, 30 Conservatory Gainsborough Street.

The Boston Symphony Chamber Players con- The Edward and Joyce Linde Concert clude their 2006-07 series at Jordan Hall at Thursday, April 26, 2007 the New England Conservatory of Music on

Sunday afternoon, May 6, at 3 p.m. with a The Boston Symphony concert of April 26 is program including Osvaldo Golijov's Lullaby supported by a generous gift from Joyce and and Doina; American composer (and NEC Edward Linde. Mr. Linde has served the Sym- alumnus) David Maslanka's Wind Quintet phony in many capacities and on September No. 3, and Schubert's Octet in F for strings 1, 2005, became the chairman of the BSO's and winds, D.803. Tickets at $30, $22, and Board of Trustees. "Supporting the Symphony $17 may be purchased through Symphony- is easy for us," the Lindes said. "We think Charge at (617) 266-1200, at the Symphony about the personal pleasure we receive at each

Individual tickets are on sale for all concerts in the BSO's 2006-2007 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 71 of this program book.

On Display in Symphony Hall This season's BSO Archives exhibit highlights a remarkable collection of memora- bilia received in the spring of 2006 through a bequest from the Estate of Helen Zimbler, the wife of the late Josef Zimbler (1900-1959), who played in the BSO's cello section from 1934 to 1959. Also active as a chamber musician, Mr. Zimbler founded the Zimbler Quartet in the 1930s and the Zimbler Sinfonietta in the 1940s. Throughout his career, he accumulated a col- lection of autographed photos of many of the great soloists and conductors of the day, as well as correspondence from some of the leading composers of the time whose works he programmed in his chamber music series. Materials from the Zimbler Collection can be seen in five exhibit cases throughout Symphony Hall—two cases in the Cabot-Cahners Room on the second-balcony level of Symphony Hall; two cases in the first-balcony corridor, audience-right; and the display case on the or- chestra level near the door leading backstage from the Massachusetts Avenue corridor. Shown here is a reproduction of a pastel and ink portrait of Josef Zimbler made in 1950 by Brookline artist Kalah Novack; the original pastel and ink por- trait can be seen in the Cabot-Cahners Room. Also on display in the first-balcony corridor, audience-left, are materials from Symphony Hall's original stage floor, which was replaced—using techniques and materials matching those employed when the stage was originally installed in 1900—during the summer of 2006 for the first time in Symphony Hall's 106-year history. Also in the display case is a three-dimensional model that shows how the stage floor is constructed. concert, the impact Symphony performances longtime Saturday-evening subscribers and have on audiences here, at Tanglewood, and have been involved with the BSO for many around the world, and the organization's impor- years, a testament to their continuing appre- tance to the cultural life of Boston, a city we ciation for music and their devotion to the love greatly." The Lindes also support the orchestra. "The BSO has become such an BSO's educational and outreach activities, important part of our lives, both on a personal feeling that the arts should be a part of every level in the joy we get from attending per- student's life. formances and in its role in making Boston Mr. Linde serves as President and CEO of such a great city," said Steve and Dottie. "We Boston Properties, one of the nation's largest have been fortunate to have enjoyed the Sym- Real Estate Investment Trusts. Mrs. Linde phony for so many years; we feel that we have is a Trustee of both Boston's Museum of a responsibility to support the orchestra so Fine Arts and the DeCordova Museum in future generations will experience the extra- Lincoln, Massachusetts. ordinary legacy of musical excellence from which we have benefited." Steve Weber, an The Walter Piston Society Concert alumnus of the University of Pennsylvania Friday, April 27, 2007 and Harvard Business School, retired in 2005 as Managing Director of SG-Cowen Securities The Walter Piston Society honors those who Corp. Dottie Weber formerly taught at North- have included the Boston Symphony Orches- eastern University and was a research psy- tra, Boston Pops, or Tanglewood in their long- chologist at Boston University Medical Cen- term plans through a bequest, life-income ter. She is an alumna of Tufts University and gift, or other deferred giving arrangement. Boston University, where she earned her doc- Members of the Walter Piston Society are torate in education. The Webers have been offered a variety of benefits, including invita- supporters of the Boston Symphony Orchestra tions to events, lectures, and seminars in Bos- since the mid-1980s. Steve and Dottie's love ton and at Tanglewood. In addition, Walter of Tanglewood led them to support the cam- Piston Society members are recognized in paign to build Ozawa Hall, to endow two seats program books and the BSO's annual report. in the Koussevitzky Music Shed, and to estab- Walter Piston (1894-1976), who endowed lish the first endowed artist-in-residence posi- the principal flute chair with a bequest, was tion at the Tanglewood Music Center. They a Pulitzer Prize-winning composer and noted have also endowed the Stephen and Dorothy musician. After studying under Georges Longy, Weber Chair, currently held by BSO cellist he graduated from Harvard and became chair Andrew Pearce, and made a generous gift to of Harvard's School of Music. Mr. Piston support The Artistic Initiative. In addition to played piano, violin, flute, saxophone, viola, their financial support of the BSO, Steve and and percussion. He wrote four books on music Dottie have also given generously of their theory that are acknowledged classics, and time. Elected a Trustee in 2002, Steve had his notable students included Leonard Bern- served as an Overseer since 1997. Steve and stein. Late in life, the French government Dottie are currently co-chairs of the BSO bestowed on Mr. Piston the Officier de l'Ordre Annual Fund Committee and previously des Arts et des Lettres. co-chaired the Benefactor Committee for The Boston Symphony Orchestra wishes Opening Night at Pops in 1999 and 2000. to thank and recognize the members of the Steve sits on the Executive Committee and is Walter Piston Society, who have made life- also co-chair of the Development Committee income gifts and/or named the BSO in their and a member of the Overseer Nominating estate plans, and has named this Friday's Committee. The Boston Symphony Orchestra concert in their honor. The support provided extends heartfelt thanks to Steve and Dottie by these gifts helps to preserve this great Weber for their generosity and commitment orchestra for future generations. to continuing the Symphony's rich musical tradition. The Stephen and Dorothy Weber Concert, Saturday, April 28, 2007 The Nathan R. Miller Family Concert Tuesday, May 1, 2007 The BSO performance on Saturday evening is supported by a generous gift from BSO The performance of May 1, 2007, by the Trustee Stephen R. Weber and his wife, Dr. Boston Symphony Orchestra is supported by Dorothy Altman Weber. Steve and Dottie are a generous gift from the Nathan R. Miller Family. The BSO greatly appreciates their phony subscription concerts and Open Re- generous support. Mr. Miller became a Trus- hearsals, starting at 6:45 p.m. prior to even- tee of the BSO in 2003, having served as an ing concerts, 12:15 p.m. prior to Friday-after- Overseer since 1988. As a Great Benefactor, noon concerts, and one hour before the start Mr. Miller is a long-standing supporter of the of morning and evening Open Rehearsals. Given by a variety of distinguished BSO and is well known for his gift of the speakers from Boston's musical community, these Miller Room at Symphony Hall. informative half-hour talks include recorded Nathan and his wife Lillian, who attended examples from the music being performed. the New England Conservatory of Music, have This week, Jan Swafford of Tufts University a very strong commitment to music and the discusses Johannes Brahms. Next week, to universal joy it brings. In 1985, the Millers' conclude the season, BSO Director of Program regard for then BSO Music Director Seiji Publications Marc Mandel discusses Shosta- Ozawa prompted them to establish the Seiji kovich and Beethoven (May 3-5). Ozawa Endowed Conducting Fellowship at the Tanglewood Music Center. They also en- dowed the Lillian and Nathan R. Miller Chair Free Tours of Symphony Hall in the cello section of the BSO in 1987, and If you would like to learn more about the BSO have named seats in Symphony Hall. and Symphony Hall, take advantage of the The Nathan R. Miller family continues to BSO's free behind-the-scenes tour of Sym- be among the BSO's most generous philan- phony Hall. Experienced members of the thropists, and we warmly thank them for their Boston Symphony Association of Volunteers support. unfold the history and traditions of the Boston Symphony Orchestra—its musicians, conduc- Pre-Concert Talks tors, and supporters—as well as offer infor- Pre-Concert Talks available free of charge to mation about the Hall. Tours of the Hall BSO ticket holders precede all Boston Sym- are offered during BSO performance weeks

BOSTON SYMPHONY Chamber Players Mozart: Chamber Music for Winds and Strings $16.99 plus tax

NEW Boston Symphony Chamber Players CD on the BSO's own label,

BSO Classics, is available now.

Purchase your copy of BSO Chamber Players CD available exclusively:

• at the Symphony Shop

• online at www.bso.org/chamberplayerscd

• via SymphonyCharge at (888) 266-1200 Directo

3 throughout the subscription season (Septem- Piano Quartet. The concert is free and open ber-May), beginning at the Massachusetts to the public. For more information, visit Avenue lobby entrance on the first Saturday www.montagemusicsociety.org. of the month at 1:30 p.m. and every Wednes- Ronald Knudsen leads the New Philhar- day at 4:30 p.m. (schedule subject to change). monia Orchestra in "Picture This!," featuring Please call to confirm specific date and time. works of Beethoven and Britten—the third of Private group tours can be arranged in ad- the orchestra's 2006-07 "Family Discovery" vance. For more information, please contact concerts—on Saturday, May 5, at 2 p.m. at n the Volunteer Office at (617) 638-9390 or Babson College in Wellesley. Tickets are $14, If [email protected]. with discounts for seniors, students, and fam- 01 ilies, and may be ordered by calling (617) Jflfl Members in Concert i BSO 527-9717 or online at www.newphil.org. Vi

Ronald Knudsen leads the New Philhar- Access Information for monia Orchestra in the third of its 2006-07 Patrons with Disabilities "Classics Concerts" on Saturday, April 28, 1HKH3S at 8 p.m. at Medfield High School and on The Boston Symphony Orchestra has a dedi- Sunday, April 29, at 3 p.m. at First Baptist cated telephone line for disabled patrons who Church in Newton. The program includes would like to purchase tickets to BSO, Pops, Beethoven's Pastoral Symphony and Fidelio or Tanglewood concerts, or who need informa- Overture, and the Four Sea Interludes from tion about disability services at Symphony Britten's Peter Grimes. Tickets are $25, with Hall or Tanglewood. This line is (617) 638- discounts for seniors, students, and families. 9431 or TDD/TTY (617) 638-9289. Members SHH9P For more information, or to order tickets, call of the BSO's Access Services staff are available (617) 527-9717 or visit www.newphil.org. to answer the line during business hours and Founded by BSO violinist Wendy Putnam, will answer any inquiries left at other times. the Concord Chamber Players close their Comings and Goings... HHM 2006-07 season with a special children's con- cert at the Emerson Umbrella Center for the Please note that latecomers will be seated '-•••'•.- Arts in Concord, on Sunday, April 29, at 2 by the patron service staff during the first p.m.: Jonathan Keren's musical version of Dr. convenient pause in the program. In addition, Seuss's The Cat in the Hat, performed by the please also note that patrons who leave young Tel Aviv Trio in conjunction with the the hall during the performance will not be New England Conservatory's Educational allowed to reenter until the next convenient Outreach program. Tickets are $10 to $20. pause in the program, so as not to disturb the For more information, call (978) 371-9667 performers or other audience members while or visit www.concordchambermusic.org. the concert is in progress. We thank you for BSO Assistant Personnel Manager Bruce your cooperation in these matters. w Creditor will be the clarinetist with the With Thanks Nf MONTAGE Music Society in performances of Berio's Lied for solo clarinet and Libby BSO subscription concerts are supported Larsen's Black Birds, Red Hills, for clarinet, in part by a grant from the Boston Cultural viola, and piano on Saturday, May 5, at 2 p.m. Council, which is funded by the Massachu- at the Brookline Public Library on Washington setts Cultural Council and administered by Street, on a program also including Stephen the Mayor's Office of Arts, Tourism, and Paulus's Art Suite and Bohuslav Martinu's Special Events.

NCi

9 JAMES LEVINE James Levine became Music Director of the Boston Symphony Orchestra in the fall of 2004, having been named Music Director Designate in October 2001. He is the orchestra's fourteenth music director since the BSO's founding in 1881 and the first American-born conductor to hold that position. Highlights of his 2006-07 BSO programs (three of which again go to Carnegie Hall) include an American-themed Opening Night program featuring Renee Fleming in Barber's Knoxville: Summer of 1915, Sir James Galway in Bol- il corn's Lyric Concerto for flute and orchestra, and v Dvorak's New World Symphony; the conclusion of the two-season Beethoven/Schoenberg project (this year including concert performances of Beethoven's Fidelio and Schoenberg's Moses und Aron); Bartok's Bluebeards Castle and Berlioz's La Damna- tion de Faust; BSO 125th-anniversary commissions from Gunther Schuller and Charles Wuorinen; and music of Brahms, Harbison, Haydn, Mozart, Ravel, and Schumann. Highlights of Mr. Levine's 2007 Tanglewood season with the BSO will include an Opening Night program of Mendelssohn and Tchaikovsky; Mahler's Symphony No. 3; a concert pairing Bartok's Bluebeard's Castle with Brahms's First Symphony; and Ber- lioz's La Damnation de Faust, as well as works by Beethoven, Carter, Harbison, Mozart, Ives, and Ravel. In addition he will lead a concert performance with the Tanglewood Music Center Orchestra of Verdi's Don Carlo and a staged Tanglewood Music Center production of Mozart's Cost fan tutte. Also at the Tanglewood Music Center, he will continue to work with the TMC's Conducting and Vocal Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Then, in late August and early September, he and the BSO will make their first European tour together, to include the Lucerne Festi- val, the Schleswig-Holstein Festival in Hamburg, Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schu- mann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, Perle, Schuller, Sessions, and Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty- five years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. In 2006-07 Maestro Levine leads new Met productions of Puccini's Madama Butterfly (including a special Opening Night performance), Puccini's // trittico, and Gluck's Orfeo ed Euridice; revivals of Mozart's Idomeneo and Die Zauberflbte, Verdi's Don Carlo, and Wagner's Die Meistersinger von Niirnberg, and three concerts each at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble. Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Develop- ment Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS

10 Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philharmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cin- cinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendels- sohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak gov- ernment, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documen- tary in PBS's "American Masters" series. He holds numerous honorary doctor- ates and other international awards. In recent years Mr. Levine has received the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors; the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, and a 2006 Opera News Award.

11 *Aza Raykhtsaum Robert Barnes Theodore W. and Evelyn Ronald Wilkison Berenson Family chair Michael Zaretsky *Bonnie Bewick Stephanie Morris Marryott and Marc Jeanneret Franklin J. Marryott chair *Mark Ludwig *James Cooke * Rachel Fagerburg Catherine and Paul Buttenwieser *Kazuko Matsusaka chair * Rebecca Gitter * Victor Romanul *Marvin Moon BOSTON SYMPHONY Bessie Pappas chair * ORCHESTRA Catherine French Cellos Mary B. Saltonstall chair, Jules 2006-2007 fullyfunded in perpetuity Eskin Principal James Levine *Kelly Barr Philip R. Allen chair, endowed Music Director Kristin and Roger Servison chair in perpetuity in 1 969 Stata *Polina Sedukh Ray and Maria Martha Babcock Music Directorship, Donald C. and Ruth Brooks Assistant Principal in perpetuity Heath chair, fully funded in fully funded Vernon and Marion Alden chair, perpetuity Bernard Haitink endowed in perpetuity Jason Horowitz Conductor Emeritus * in 1977 LaCroix Family Fund, Sato Knudsen Second Violins fullyfunded in perpetuity Mischa Nieland chair, Haldan Martinson fullyfunded in perpetuity Seiji Ozawa Principal Mihail Jojatu Music Director Laureate Carl Schoenhof Family chair, Sandra and David Bakalar chair fullyfunded in perpetuity Luis Leguia First Violins Vyacheslav Uritsky Robert Bradford Newman chair, Malcolm Lowe Assistant Principal fullyfunded in perpetuity Charlotte and Irving Rabb Concertmaster W *Jerome Patterson chair, endowed in perpetuity Charles Munch chair, Lillian and Nathan R. Miller in 1977 fully funded in perpetuity chair Ronald Knudsen Tamara Smirnova *Jonathan Miller Edgar and Shirley Grossman Associate Concertmaster Charles and JoAnne Dickinson chair Helen Horner Mclntyre chair, chair endowed in perpetuity in 1976 Joseph McGauley *0wen Young Alexander Velinzon Shirley and J. Richard Fennell John F. Cogan, Jr., and Mary L. Assistant Concertmaster chair, fully funded in perpetuity Cornille chair, fullyfunded in Robert L. Beal, Enid L., and Ronan Lefkowitz perpetuity Bruce A. Beal chair, endowed in David H. and Edith C. Howie * Andrew Pearce perpetuity in 1980 chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Elita Kang *Sheila Fiekowsky * Mickey Katz Assistant Concertmaster *Jennie Shames Richard C. and Ellen E. Paine Edward and Bertha C. Rose * Valeria Vilker chair, fully funded in perpetuity chair Kuchment Bo Youp Hwang *Tatiana Dimitriades Gordon and Mary Ford Kingsley John and Dorothy Wilson chair, *Si-Jing Huang Family chair fullyfunded in perpetuity *Nicole Monahan Lucia Lint * Wendy Putnam Basses Forrest Foster Collier chair *Xin Ding Edwin Barker Ikuko Mizuno *Glen Cherry Principal Dorothy Q. and David B. Arnold, Harold D. Hodgkinson chair, Jr., chair, fully funded in *Julianne Lee endowed in perpetuity in 1974 perpetuity Lawrence Wolfe Levy Violas Amnon Assistant Principal Muriel C. Kasdon and Steven Ansell Maria Nistazos Stata chair, Marjorie C. Paley chair Principal fullyfunded in perpetuity Charles S. Dana chair, *Nancy Bracken Joseph Hearnet Carl Shapiro chair, endowed in perpetuity in 1970 Ruth and J. Leith Family chair, in perpetuity Cathy Basrak fullyfunded fully funded in perpetuity Assistant Principal Dennis Roy Anne Stoneman chair, Joseph and Jan Brett Hearne fullyfunded in perpetuity chair * Participating in a system Edward Gazouleas rotated seating John Salkowski of Lois and Harlan Anderson chair, Erich and Edith Heymans chair X On sabbatical leave fullyfunded in perpetuity § Substitute player *James Orleans

12 *Todd Seeber Suzanne Nelsen Timpani Eleanor L. and Levin H. John D. and Vera M. Timothy Genis Campbell chair, fully funded MacDonald chair Sylvia Shippen Wells chair, in perpetuity Richard Ranti endowed in perpetuity in 1974 *John Stovall Associate Principal *Benjamin Levy Diana Osgood Tottenham/ Percussion Hamilton Osgood chair, Frank Epstein fully funded in perpetuity Flutes Peter and Anne Brooke chair, jMR Elizabeth Rowe fully funded in perpetuity Contrabassoon Principal J. William Hudgins Walter Piston chair, endowed Gregg Henegar Peter Andrew Lurie chair, in perpetuity in 1970 Helen Rand Thayer chair fully funded in perpetuity Horns Myra and Robert Kraft chair, Barbara Lee chair endowed in perpetuity in 1 981 James Sommerville Principal Elizabeth Ostling Assistant Timpanist Helen Slosberg/Edna Associate Principal Sagoff Mr. and Mrs. Edward H. Linde S. Kalman chair, endowed Marian Gray Lewis chair, chair in perpetuity in 1974 fully funded in perpetuity § Richard Flanagan Richard Sebring JKjVCr Associate Principal i mm Piccolo Harp WwmrJ& eJE* Margaret Andersen Congleton ~»ZM Cynthia Meyers Ann Hobson Pilot )9£l&Sfr* chair, fully funded in perpetuity Evelyn and C. Charles Marran Principal Daniel Katzen fW chair, endowed in perpetuity in !h$ 1979 Elizabeth B. Storer chair, Voice and Chorus fully funded in perpetuity John Oliver Oboes Jay Wadenpfuhl 1 Tanglewood Festival Chorus John P. II and Nancy S. Eustis John Ferrillo Conductor iM 1 chair, fully funded in perpetuity BwfiEcj? Principal Alan J. and Suzanne W. Dworsky Jason Snider Mildred B. Remis chair, endowed chair, fully funded in perpetuity H 1 in perpetuity in 1975 Jonathan Menkis Mark McEwen Jean-Noel and Mona N. Librarians [4E James and Tina Collias chair Tariot chair SfcSfi&d tf* Marshall Burlingame XKBBS 91 Keisuke Wakao Principal SU$tt3 Lfl Assistant Principal Trumpets Lia and William Poorvu chair, Thomas Rolfs fully funded in perpetuity English Horn Principal William Shisler Roger Louis Voisin chair, Robert Sheena John Perkel in perpetuity in • Beranek chair, fully funded endowed 1977 \ Peter in perpetuity Chapman Assistant Conductors 88. Ford H. Cooper chair, endowed i mW Jens Georg Bachmann Clarinets in perpetuity in 1 984 Anna E. Finnerty chair, William R. Hudgins fully funded in perpetuity Principal Assistant Principal Ludovic Morlot Ann S.M. Banks chair, endowed Benjamin Wright in perpetuity in 1977 Trombones Pc rsonnel Managers Lynn G. Larsen Thomas Sternberg chair Ronald Barron Thomas Martin Principal Bruce M. Creditor Associate Principal & J. P. and Mary B. Barger chair, E-flat clarinet fully funded in perpetuity Stage Manager Stanton W and Elisabeth K. Norman Bolter John Demick Davis chair, fully funded in Arthur and Linda Gelb chair perpetuity Bass Trombone Bass Clarinet Douglas Yeo Craig Nordstrom John Moors Cabot chair, Farla and Harvey Chet fully funded in perpetuity Krentzman chair, fullyfunded in perpetuity Tuba Mike Roylance Bassoons Principal Richard Svoboda Margaret and William C. Principal Rousseau chair, fullyfunded Edward A. Toft chair, endowed in perpetuity in perpetuity in 1974

13 w

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14 BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007

Thursday, April 26, at 8 THE EDWARD AND JOYCE LINDE CONCERT Friday, April 27, at 1:30 THE WALTER PISTON SOCIETY CONCERT Saturday, April 28, at 8 THE STEPHEN AND DOROTHY WEBER CONCERT

Tuesday, May 1, at 8 THE NATHAN R. MILLER FAMILY CONCERT

BERNARD HAITINK conducting

ALL-BRAHMS PROGRAM

Symphony No. 3 in F, Opus 90

Allegro con brio Andante Poco Allegretto Allegro — Un poco sostenuto

INTERMISSION

Piano Concerto No. 1 in D minor, Opus 15 Maestoso Adagio Allegro non troppo EMANUEL AX

Emanuel Ax's appearances this week are supported by a gift in memory of Hamilton Osgood.

UBS is proud to sponsor the BSO's 2006-2007 season.

The evening concerts will end about 10 and the afternoon concert about 4.

Steinway and Sons Pianos, selected exclusively for Symphony Hall

Special thanks to Delta Air Lines, The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING THE CONCERT.

15 Week 26 Boston's Classical Station has moved to 99.5fm

BOSTON

'ameaweat laA6leal muAi&

Hear the Boston Symphony Orchestra on Boston's Classical Station 99.5 WCRB

Live from Symphony Hall Saturdays at 8:00pm

wcrb.com

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Johannes Brahms Symphony No. 3 in F, Opus 90

Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He completed his Third Symphony during a stay at Wies- rjm baden in the summer of 1883; the two middle movements may date back to a never-completed "Faust" project on fSnt which Brahms was working in 1880-81. Hans Richter H

led the Vienna Philharmonic in the first performance of the F major symphony on December 2, 1883. It was first heard in America at one of Frank Van der Stuckens "Novelty Concerts" at New York's Steinway Hall on

October 24, 1884. Wilhelm Gericke gave the first Boston Symphony performances on November 7 and 8, 1884, on which occasion the reviewer for the Boston Gazette commented that, "like the great mass of the composer's music, it is painfully dry, deliberate and ungenial; and like that, too, it is free from all effect of seeming spontaneity." Gericke himself afterwards recalled that "the audience left the hall in hundreds." The Brahms Third has also been given at BSO concerts by Arthur MBS Nikisch, Emil Paw, Max Fiedler, Otto Urack, Kark Muck, Pierre Monteux, Serge Kousse- vitzky, Richard Burgin, Charles Munch, Guido Cantelli, Erich Leinsdorf Colin Davis, Charles Wilson, Seiji Ozawa (including the most recent subscription performances, in April l r* 1997), Bernard Haitink, Marek Janowski, Jeffrey Tate, and James Levine (the most recent Tanglewood performance, on July 22, 2005). The symphony is scored for two wftSraffl flutes, two oboes, two clarinets, two bassoons and contrabassoon, horns, two trum- four - E - pets, three trombones, timpani, and strings.

Elisabet von Herzogenberg writing to Brahms from Leipzig on February 11, 1884:

Ah, the bitter, bitter parting! We are in the act of sending away our dear, dear symphony. Yesterday was Sunday, when the parcel should have been taken to

post before 11 o'clock, but I couldn't bear it!... I have managed to commit the two middle movements to memory most beautifully, and the first one very nearly. So I

can amuse myself endlessly with the treasure I have stored, though the remainder bothers me sadly. It is now my very best friend—the symphony—and the giver of it a real benefactor. mm In November 1883 his close friends the Herzogenbergs had asked Brahms for a look at k the new symphony so they could study it in advance of its first Leipzig performance on February 7, 1884. On January 11 the composer wrote that they would soon have the score in a two-piano arrangement, already referring to it as "the too, too famous F major" and noting that "the reputation it has acquired makes me want to cancel all my engage- ments."

Another more famous respondent to Brahms's new symphony (likewise in its two- piano version) was Clara Schumann, who wrote on February 11, 1884, from Frankfurt:

I don't know where this letter will find you, but I can't refrain from writing it

because my heart is so full. I have spent such happy hours with your wonderful

creation. . . that I should like at least to tell you so. What a work! What a poem! What a harmonious mood pervades the whole! All the movements seem to be of one piece, one beat of the heart, each one a jewel! From start to finish one is & wrapped about with the mysterious charm of the woods and forests. I could not tell

you which movement I loved most. In the first I was charmed straight away by the gleams of dawning day, as if the rays of the sun were shining through the trees.

Everything springs to life, everything breathes good cheer, it is really exquisite!

The second is a pure idyll; I can see the worshippers kneeling about the little for-

17 Week 26 ISABELLA STWART GARDN E R. MUSEUM

THIS MONTH

- Music at the Gardi World-class concerts in an intimate setting

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Artist Diploma Showcase —

An annual series of concerts at the Gardner Museum showcasing young musicians from the New England Conservatory's Artist Diploma program, one of the most demanding and prestigious in the country

April 29, 1:30pm May 6, 1 :30pm Karen Gomyo, violin Dimitri Murrath, viola Beethoven, Part, Brahms Schubert, Brahms, Weber

Concerts every Sunday in the Tapestry Room $5-23 General Seating Box Office 617 278 5156

Free classical music podcasts at www.gardnermuseum.org Special Exhibition: Sculpture & Memory, February 9-May 6

18 . -

est shrine, I hear the babbling brook and the buzz of the insects. There is such a fluttering and a humming all around that one feels oneself snatched up into the joyous web of Nature. The third movement is a pearl, but it is a grey one dipped in a tear of woe, and at the end the modulation is quite wonderful. How gloriously the last movement follows with its passionate upward surge! But one's beating heart is soon calmed down again for the final transfiguration which begins with such beauty in the development motif that words fail me! How sorry I am that I cannot

hear the symphony now that I know it so well and could enjoy it so much better.

This is a real sorrow for me. .

The symphony had its first performance in Vienna on December 2, 1883, under Hans Richter, and was successful despite the presence in the audience of a vocal Wagner- Bruckner faction which held against Brahms both his fame as a composer and his friend- ship with the critic Eduard Hanslick. Hanslick had heard the symphony already in one of two two-piano readings Brahms arranged for his friends before the actual premiere. In his review Hanslick pronounced the F major "a feast for the music lover and musi- cian" and, of Brahms's symphonies to that time, "artistically the most perfect. It is more compactly made, more transparent in detail, more plastic in the main themes."*

An incredible succession of performances followed: Joseph Joachim, who had led the English premiere of the Brahms First in Cambridge, England, in 1877, introduced the raKiiK| Third to Berlin at the Academy of Music on January 4, 1884. At the end of the month Berlin heard the symphony again, twice in succession, with the Berlin Philharmonic un- BMWffl der Franz Wiillner on the 28th (on which occasion Brahms performed his B-flat piano K TjVft flinyyi concerto) and then under Brahms himself the next night. By mid-February the composer %:*Sil!IW nM -•mBwSS i4i *According to Hanslick, Richter christened the F major symphony as "Brahms's EroiccC shortly before the premiere. And like Beethoven in his Third Symphony, Brahms marks his first move- 8 OTMX ment "Allegro con brio." L*J2mj£*£ M^ PHH197E pBfti dvfvB *v^Jw !Tj\*OTK'fglr 'JX*

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19

8£

:- : -'•.-.. *..•»•. Help us meet the Challenge

With your support as a Friend of the BSO, we all share in the experience of a world-class orchestra in Boston.

The Orchestra depends on the generosity of its patrons to provide critical financial support; ticket sales cover less than 60 percent of the BSO's operating expenses. Your contribution will support not only the outstanding artistic programs at Symphony Hall, but also the BSO's extensive education and community outreach efforts.

And if you make a gift now, the effect of your generosity will be even greater thanks to The Boston Challenge, a generous grant offered by a small group of anonymous BSO trustees. All new or increased gifts to the Symphony Annual Fund received by June 30, 2007 will be matched, dollar for dollar, up to $250,000.

Your membership in the Friends will bring a wonderful array of benefits and privileges to enhance your enjoyment of the 2006-07 season.

To learn more about becoming a Friend of the BSO, or to make a gift, contact the Friends of the BSO Office at (617) 638-9276, [email protected], or visit www.bso.org. friends / BOSTON SYMPHONY ORCHESTRA

I had led performances also in Wiesbaden, at the Gewandhaus in Leipzig, and at a Giirzenich concert in Cologne. At Meiningen, where his friend Hans von Billow had three years earlier offered Brahms the renowned court orchestra as a "rehearsal orches- tra" to try out his new works (providing the composer a sense of security that may have been a factor in his turning later to the creation of the Fourth Symphony), Biilow actually programmed the Third twice on a single concert!*

Brahms had already secured his reputation as an orchestral composer with the pre- miere of his Variations on a Theme by Haydn in Vienna in November 1873. Already behind him were his First Piano Concerto, the D major Serenade, Op. 11, and the A major Serenade, Op. 16, all dating from the late 1850s. Some material for the First Symphony also dates back to that time, but that work had to wait for its completion until 1876, by which time Brahms was able finally to overcome his strong reservations about following in Beethoven's footsteps. The Second Symphony followed without hesi- tation a year later, and the Violin Concerto came a year after that, both being products of Brahms's particularly productive summer work habits. Likewise the Third Symphony in 1883: having been occupied with thoughts for the symphony for some time, he inter- rupted a trip to the Rhine, renting accommodations in Wiesbaden so that he could com- plete the work and apparently writing it out without pause.

When Brahms conducted his Third Symphony at a Hamburg Philharmonic concert in December 1884, one critic reported that

Brahms's interpretation of his works frequently differs so inconceivably in deli- cate rhythmic and harmonic accents from anything to which one is accustomed, that the apprehension of his intentions could only be entirely possible to another

*When Biilow celebrated his sixtieth birthday on January 8, 1890, Brahms sent him as a gift the autograph manuscript of the Third Symphony.

Elisabet von Herzogenberg Clara Schumann

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man possessed of exactly similar sound-susceptibility or inspired by the power of divination.

Writing about his Fourth Symphony at a later time, Brahms had this to say:

I have marked a few tempo modifications in the score with pencil. They may be useful, even necessary, for the first performance. Unfortunately they often find their way into print (with me as well as with others) where, for the most part, they do not belong. Such exaggerations are only necessary when a composition is unfamiliar to an orchestra or a soloist. In such a case I often cannot do enough pushing or

slowing down to produce even approximately the passionate or serene effect I want. Once a work has become part of the flesh and blood, then in my opinion nothing of that sort is justifiable any more. In fact, the more one deviates from the original, the less artistic the performance becomes. With my older works I frequently find that everything falls into place without much ado and that many marks of the above-mentioned type become entirely superfluous. But how often does not some- one try to make an impression nowadays with this so-called free artistic rendition and how easy this is, even with the poorest orchestra and but a single rehearsal! An orchestra like that of Meiningen ought to take special pride in showing just the opposite.

These observations seem particularly relevant to a consideration of the Third Sym- phony, the most difficult of the four for a conductor to bring off successfully, and not just because all four movements end quietly. Early in this century, Tovey described the F major as "technically by far the most difficult [of Brahms's symphonies], the difficul- ties being mainly matters of rhythm, phrasing, and tone." One might expand upon this by mentioning the swift alternation of sharply contrasted materials during the course of the first movement, and the need to make both clear and persuasive the thematic con- nections that bind together the first, second, and last movements, a procedure Brahms does not attempt in his other symphonies.* And as the least often performed of the four, the Third remains, in a sense, almost "new" insofar as audiences are concerned, and especially since its tight thematic and architectural structure, and its lean orchestra- tion, stand in sharp contrast to the other three.

The symphony begins Allegro con brio, with a rising motto for winds and brass whose broad 6/4 meter seems almost to hold back forward progress; it is only with the intro- duction of the main theme, taking the initial motto as its bass line, that the music begins really to move:

Tromb*. eto. ia lower 8tm

The three-note motto, F—A-flat—F, is Brahms's shorthand for "frei aberfroh," "free but glad," musical symbolism he had already used in his A minor string quartet, Opus 51, No. 2, as rejoinder to Joseph Joachim's F-A-E, "/rei aber einsam? "free but lonely," many years before. But the F-A-flat-F motto here serves still another, purely musical purpose: the A-flat suggests F minor rather than F major, an ambiguity to be exploited elsewhere in the symphony. The sweeping main theme gives way to a new idea, tenta-

*One can look to the Schumann Fourth as an important precursor for this procedure in a sym- phony. One might also note that the main theme of Brahms's first movement echoes a phrase that occurs midway through the slow movement of Schumann's First Symphony.

23 Week 26 tive in its progress, clinging tenuously to nearly each note before moving to the next, but soon opening out and leading to a graceful theme given first to solo clarinet, then to solo oboe and violas in combination. This theme, in darker colorations, will be prom- inent in the development section of the movement. Now, however, an increase in activi- ty leads to the close of the exposition, a forceful passage built from stabbing downward thrusts in the strings and a swirling wave of energy beginning in the winds and then encompassing the entire orchestra before grinding to a sudden halt for a repeat of the exposition.

This is a particularly difficult moment rhythmically since the return to the nearly static opening of the movement comes virtually without warning, but there is something about the tight, classical architecture of this shortest of Brahms's symphonies that makes the exposition-repeat an appropriate practice here, and not just a bow to convention. Hearing the beginning twice also helps us recognize the masterstroke that starts the recapitulation, where the motto idea, introduced by a roll on the kettledrum, broadens out both rhythmically and harmonically to propel the music forward in a way the open- ing of the symphony did not attempt. The motto and main theme will come back in yet another forceful guise to begin the coda, the theme transforming itself there to a chain of descending thirds—Brahms's musical signature in so many of his works—before subsiding to pianissimo for one further, quiet return in the closing measures.

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/ The second and third movements are marked by a contained lyricism, subdued and only rarely rising above a piano. Hanslick describes the opening pages of the C major Andante as "a very simple song dialogue between the winds and the deeper strings." The entry of the violins brings emphatic embellishment and the appearance of a new idea, sweetly expressive within a narrow compass, clearly characterized by the repeated pitch at its beginning and the triplet rhythm that stirs its otherwise halting progress:

0-4 23 tiff. m ~r*+ 1< *• a?^-* * Jf esjr, 4olc§

Brahms will use the repeated-note motive to mysterious effect in this movement, but the entire theme will return to extraordinarily significant purpose later in the symphony.

The third movement is a gentle interlude in C minor, its pregnant melody heard first in the cellos and then in a succession of other instruments, among them combined flute, oboe, and horn; solo horn, solo oboe, and, finally, violins and cellos together. Before the statement by the solo horn, an interlude plays upon a yearning three-note motive again

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26 characterized by a simple repeated-pitch idea. As in the preceding movement, trumpets and drums are silent throughout.

The finale begins with a mysterious dark rustling of strings and bassoons that seems hardly a theme at all, and it takes a moment for us to realize that, contrary to all expec- tation—but obviously so right once we're aware of it—this last movement is in the minor mode. A pianissimo statement of the second-movement theme quoted earlier steals in so quietly that we barely have time to make the connection. Then, without warning, a fortissimo explosion alerts us already to how ripe for development is Brahms's "non- theme," as in the space of just a few pages it is fragmented and reinterpreted both rhyth- mically and melodically. This leads to the finale's second theme, a proud and heroic one proclaimed in the richly romantic combined timbres of cellos and horns; this is the music that suggested to Joachim the story of Hero and Leander.* After playing with fur- ther muted transformations of the opening idea, the development builds to a climax on overlapping statements of the second-movement theme proclaimed by the orchestra at full volume and hurtling the music into the recapitulation. Only with a quiet transfor- mation in the violas of the opening idea does the energy level finally subside. The sym- phony's final pages return to the soft serenity of F major with the reemergence in a newly restrained guise of the second-movement theme, followed by allusion to and the return of the F—A-flat—F motto, and, at the end, one last, mist-enshrouded recollection of the symphony's beginning. —Marc Mandel

*Joachim writing in a letter to Brahms dated January 27, 1884: "I find the last movement of your symphony deep and original in conception It is strange that, little as I like reading

poetic meanings into music, I have here formed a clear picture of 'Hero and Leander' and this has rarely happened to me in the whole range of music. The second subject in C major recalls to me involuntarily the picture of the intrepid swimmer fighting his way towards the promised goal, in the face of wind and storm. Is that something like your own conception?"

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28 Johannes Brahms Piano Concerto No. 1 in D minor, Opus 15

Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. His First Piano Concerto took shape over the years 1854-

1858. Brahms played the solo part in the first perform- ance, which took place in Hanover on January 22, 1859, with Joseph Joachim conducting. The first American performance of the first movement alone took place in Boston on December 9, 1871, with Marie Krebs as solo- ist and Theodore Thomas conducting his orchestra. Leopold Godowsky was soloist for the first complete American performance on March 2, 1900, with Theo-

dore Thomas and the Chicago Orchestra. The first Boston Symphony performances of the work took place later that same year, in the BSOs first Symphony Hall season, on November 30 and December 1, 1900, with Wilhelm Gericke conducting and Harold Bauer as soloist. Bauer was also soloist for the next three series ofperformances: in 1914 under Karl Muck, in 1 920 under Pierre Monteux, and in 1 925 under Serge Koussevitzky. The concerto has been heard in BSO concerts more frequently since 1930, in performances featuring Artur Schnabel, Myra Hess, Ossip Gabrilowitsch, Leonard Shure, Rudolf Serkin, Claudio Arrau, and Rudolf Firkusny (all with Koussevitzky conducting), Arrau (with Richard Burgin), Jesus Maria Sanromd (with Leonard Bernstein), Solomon (with Charles Munch), Leon Fleisher (with Pierre Monteux), Rudolf Serkin and Gary Grajfman (with Munch), Van Cliburn, Arthur Rubinstein, and Claude Frank (all with Erich Leinsdorf), Frank (with Burgin), Misha Dichter (with Michael Tilson Thomas), Rudolf Serkin, Mau- rizio Pollini, and Claudio Arrau (all with Ozawa), Garrick Ohlsson (Klaus Tennstedt), Rudolf FirkuSny (Eugene Ormandy), Marek Drewnowski (Leonard Bernstein), Daniel Barenboim (Ozawa and, more recently, Ilan Volkov), Emanuel Ax (Andrew Davis and Simon Rattle), John Browning (Jeffrey Tate), Krystian Zimerman (Simon Rattle), Yefim Bronfman (Antonio Pappano), Peter Serkin (including the most recent subscription per- formances, under Seiji Ozawa in October 2001), and Emanuel Ax again (the most recent Tanglewood performance, under Christoph von Dohndnyi on August 3, 2003). In addi- tion to the solo piano, the score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Admit, when you think of Brahms, you probably think of him as he is in the famous von Beckerath drawing of him at the piano—an older man with grey hair and flowing white beard, stout, sure to light a cigar when he is finished playing, then off to a place called The Red Hedgehog for wine and smoke and conversation, gruff and sometimes outright rude but still capable of turning on charm for the ladies, going for long walks, writing many letters, some of them distressingly arch, spending summers composing in places with names like Portschach, Murzzuschlag, and Bad Ischl, but unable to tolerate any of them more than three years in a row, and of course writing solid masterpiece after solid masterpiece.

Right enough, but it has nothing to do with the twenty-five-year-old Brahms strug- gling to bring his D minor piano concerto to completion—"I have no judgment about this piece any more, nor any control over it," he writes to Joseph Joachim on December 22, 1857. Four years earlier, on October 28, 1853, Robert Schumann closed his career as music critic with the celebrated, oft-invoked article New Paths:

... I have always thought that some day, one would be bound suddenly to appear, one called to articulate in ideal form the spirit of his time, one whose mastery would not reveal itself to us step by step, but who, like Athena, would spring fully

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30 armed from the head of Zeus. And he is come, a young man over whose cradle graces and heroes have stood watch. His name is Johannes Brahms... and he [bears] even outwardly those signs that proclaim: here is one of the elect.

That year, Brahms had come to the Schumanns in Diisseldorf as a shy, awkward, nearsighted young man, boyish in appearance as well as manner (the beard was still twenty-two years away), blond, delicate, almost wispy. His two longest, closest musical friendships began in 1853—with the violinist, conductor, and composer Joseph Joachim, and with Clara Schumann. Both went through turbulent, painful stages, the one with Joachim much later, but that with Clara almost at once. On February 27, 1854, Robert Schumann, whose career as conductor had collapsed and who had begun to suffer from auditory and visual hallucinations, tried to drown himself, and five days later he was committed to an asylum in Endenich. Clara, pregnant with their seventh child, was des- perate, and in the following weeks, Brahms's kindliness, friendship, and gratitude were transmuted into the condition of being passionately in love with this gifted, strong, cap- tivatingly charming and beautiful thirty-five-year-old woman. Moreover, she returned his feelings. In their correspondence there is reference to "the unanswered question." Schumann's death in July 1856 was a turning point in Brahms's relations with Clara, though not the one for which he must have hoped. She seemed more married to Robert than ever, they pulled apart, and it took a while before they settled into the loving, nourishing friendship that endured until Clara's death in May 1896.

All this time, the music we know as the D minor piano concerto was in Brahms's head, occupying more and more pages of his notebooks, being tried out at the piano (or at two), sent to Joachim for criticism, discussed in letters. It is surely marked by the tur- moil of these years, by Robert Schumann's madness and death, by Brahms's love for Clara and hers for him, by their retreat from their passion. Its composition was marked as well by purely musical troubles, by the mixed effect of the very young man's origi- nality, his ambition, his inexperience (particularly with respect to writing for orchestra), his almost overpowering feeling for the past, his trembling sense of his own audacity at inserting himself into history as, somehow, a successor of Bach and Handel, Haydn and Mozart, Beethoven, Schubert, and Schumann.

He set out in 1854 to write a sonata for two pianos, but by June of that year, he was already uncertain about it and wrote to Joachim:

I'd really like to put my D minor sonata aside for a long time. I have often played the first three movements with Frau Schumann. (Improved.) Actually, not even two

pianos are really enough for me I am in so confused and indecisive a frame of

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mind that I can't beg you enough for a good, firm response. Don't avoid a negative one either, it could only be useful to me.

In March he had traveled the few miles from Dtisseldorf to Cologne in order to hear the Beethoven Ninth for the first time. More than twenty-two years would pass before he allowed himself to complete a symphony and have it performed, but still, from then on, the idea of writing such a work gave him no peace. Before long, the sonata for which I two pianos were not enough turned into

the symphony it had really wanted to be in the first place (and the choice of D minor, the key of the Beehoven Ninth, % TSj*r Try] for this sonata/symphony is no coinci- dence). He was reluctant, though, to KM vr- face the idea of symphony, nor would the sonority of the piano go away. To mm turn the music into a piano concerto mm seemed to be the answer, and by April • v 1 I I Va» I 1856 he was sending drafts to Joachim ("You know how infinitely you could please me—if it's worth the effort at all—by looking at it very carefully and passing on to me even the most trivial of your thoughts and reservations").

Joachim to Brahms, December 4, 1856:

I don't know whether you will be pleased by my penciled suggestions m and wish you'd soon answer that un- Robert and Clara Schumann stated question, best of all by simply 3D sending me the concerto's continua- 11 tion I become more fond of the piece all the time, though certain things don't 6 M

altogether convince me compositionally: from page 21 to 24 it's too fragmentary, not flowing enough restless rather than impassioned just as in general, after the — — i»!V' significant opening and the wonderfully beautiful song in minor, I miss an appro- «lf priately magnificent second theme—I do realize that something commensurately elevated and beautiful in major, something that could compete in breadth with the

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34 opening idea, must be hard to find—but even these reservations don't blind me to the many glories of the movement.

Brahms to Joachim, December 12, 1856:

So here is the finale, just to be rid of it at last. Will it be good enough for you? I

doubt it. The end was really meant to be good, but now it doesn't seem so to me. A thousand thanks for having looked over the first movement so benevolently and exactly. I have already learned a lot from your beautiful commentary Scold and cut all you want.

Brahms to Joachim, early January 1857:

You're not embarrassed to make heavy and heavier cuts in the rondo, are you?

I know very well that they're needed. Send it soon. Here's the first movement, copied over for a second—and, please, severe—going over Oddly enough, an Adagio is going along as well. If I could only rejoice over a successful Adagio.

Write to me about it, and firmly. If you like a little bit, show it to our dear friend,

otherwise not I like the little alteration on page 19, line 2, but doesn't it remind

me of Wagner? . . . Dear Joseph, I am so happy to be able to send you my things, it makes me feel doubly sure.

Joachim to Brahms, January 12, 1857:

Your finale—all in all, I find it really significant: the pithy, bold spirit of the first theme, the intimate and soft B-flat major passage, and particularly the solemn reawakening toward a majestic close after the cadenza, all that is rich enough to leave an uplifting impression if you absorb these principal features. In fact, I even believe that even after the impassioned spaciousness of the first movement and the

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... A conversation with Frau Schumann led me to think it would be well if you wrote another finale, revision often being more trouble than new invention. But that would be a waste of so much that is meaningful in the rondo, and perhaps you can bring yourself back to the point of working with your original impetuosity so as to make those few places over—I'd like that.

So it went for months more, with revisions, with decisions to leave certain things alone ("I'm returning one passage still with the mark of Cain on its forehead"), with in- quiries about horn transpositions, the risk involved in assigning a solo to the third horn ("The players in Hamburg and Elberfeld are worthless, and who knows about other orchestras?"), about the advisability of omitting the piccolo altogether (he did, settling finally on a contained and classical orchestra with woodwinds and trumpets in pairs, four horns, kettledrums, and strings). In December 1857 he wrote the despairing sen- tence already quoted: "I have no judgment about this piece any more, nor any control over it," adding "Nothing sensible will ever come of it." To which Joachim sensibly replied, "Aber Mensch, but I beg you, man, please for God's sake let the copyist get at

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38 the concerto." "I made more changes in the first movement," Brahms reported in March 1858 and even risked not sending them to Joachim. That good friend made his orches- tra available for a reading rehearsal in Hanover in April, and bit by bit, Brahms came

to face the inevitable: he must let it go and perform it.

The premiere in Hanover went well enough, but the performance in the more impor- tant city of Leipzig a few days later was a disaster:

No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration I think it's the best that could happen to one, it

forces you to collect your thoughts and it raises courage. After all, I'm still trying and groping. But the hissing was really too much, yes?

"For all that," Brahms wrote in the same letter to Joachim, "one day, when I've im-

proved its bodily structure, this concerto will please, and a second will sound very dif- ferent." He was right on both points (though, in fact, he revised only some details). He became a master. For the solemn, sarabande-like slow movement of the D minor sym-

phony-that-never-was, he found a beautiful use when he set to it the words "For all flesh is as grass, and all the glory of man as the flower of grass" in his German Requiem.

And who would want the D minor concerto to be other than it is, great and with rough edges, daring and scarred, hard to make sound well, and holding in its Adagio, over which he once inscribed the words "Benedictus qui venit in nomine Domini" all that in his painful, Werther-like loyalty and love he had felt about Robert and Clara Schumann? —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979, having previously been music critic of the Boston Globe from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published three compilations of his program notes: The Symphony—A Listener's Guide, The Concerto—A Listener's Guide, and Choral Mastenvorks—A Listener's Guide. Essays by Mr. Steinberg on a variety of musical subjects also appear in For the Love of Music—Invitations to Listening, also from Oxford University Press. w WOODSTOCK Est. 1929

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Important, relatively recent additions to the Brahms bibliography include Jan Swafford's Johannes Brahms: A Biography (Vintage paperback), Walter Frisch's Brahms: The Four *rft. Symphonies (Yale University paperback), Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford), and The Compleat Brahms, edited by conduc- tor/scholar Leon Botstein, a compendium of essays on Brahms's music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton). An impor- tant new addition to the bibliography is Peter Clive's Brahms and his World: A Biogra- JC-JI phical Dictionary, which includes a chronology of the composer's life and works fol- lowed by alphabetical entries on just about anyone you might think of who figured in Brahms's life (Scarecrow Press); this follows Clive's earlier, similar books, Mozart and his Circle (Yale University Press) and Beethoven and his World (Oxford University Press). The Brahms entry in the 2001 New Grove Dictionary of Music and Musicians is by George S. Bozarth and Walter Frisch; the entry in the 1980 Grove was by Heinz Becker. Important older biographies include Karl Geiringer's Brahms (Oxford paperback; Geirin- ger also wrote biographies of Haydn and Bach) and The Life of Johannes Brahms by m Florence May, who knew Brahms personally (originally published in 1905, this shows up periodically in reprint editions). Malcolm MacDonald's Brahms is a very good life- and-works volume in the Master Musicians series (Schirmer). John Horton's Brahms Orchestral Music in the series of BBC Music Guides includes discussion of Brahms's symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washington paperback). Michael Musgrave's The Music of Brahms concentrates on the music (Oxford paperback), as does Bernard Jacobson's The Music of Johannes Brahms (Fairleigh Dickinson). Michael Steinberg's notes on the four Brahms symphonies are in his compilation volume The Symphony—A Listener's Guide (Oxford paperback); his notes on the Brahms concertos (the two piano concertos, the Violin Concerto, and the Double Concerto for violin and cello) are in his second such compilation, The Concerto— A Listener's Guide (also Oxford paperback). Donald Francis Tovey's notes on the Brahms symphonies and concertos can be found among his Essays in Musical Analysis (Oxford paperback). BTOSU •'-.?"'•"'. Emanuel Ax recorded the Brahms First Piano Concerto with James Levine and the ••.,-':• Chicago Symphony Orchestra in 1983 (Sony Classical, recently reissued in a two-disc .•••".'<=•'•- set with Ax's Boston Symphony recording of the Second Concerto with Bernard Haitink conducting, and solo piano music of Brahms). Bernard Haitink has made two recordings of Brahms's Piano Concerto No. 1 —with Vladimir Ashkenazy and the Concertgebouw Orchestra of Amsterdam (Decca) and with Claudio Arrau also with the Concertgebouw Orchestra (Philips). Other noteworthy recordings include Steven Kovacevich's with Wolfgang Sawallisch and the London Philharmonic (EMI), Leon Fleisher's with George Szell and the Cleveland Orchestra (Sony Classical), Nelson Freire's with Riccardo *?*» Chailly and the Gewandhaus Orchestra of Leipzig (Decca), Maurizio Pollini's with Karl Bohm and the Vienna Philharmonic (Deutsche Grammophon), Peter Serkin's with Robert &«i Shaw and the Atlanta Symphony (Intersound), and Krystian Zimerman's with Sir Simon Rattle and the Berlin Philharmonic (Deutsche Grammophon). The Boston Symphony Orchestra recorded the Brahms First Piano Concerto three times for RCA: with soloist mm Gary Graffman under Charles Munch in 1958, with Van Cliburn under Erich Leinsdorf in March 1964, and with Arthur Rubinstein under Leinsdorf in April 1964. Among much older versions, an important one to know is Solomon's, recorded in 1952 with Rafael Kubelik conducting the Philharmonia Orchestra (Testament).

Bernard Haitink recorded all four Brahms symphonies with the Boston Symphony Orchestra between 1990 and 1994 (Philips). Previously he had recorded them with the Concertgebouw Orchestra of Amsterdam (Philips); more recently he has recorded them with the London Symphony Orchestra (LSO Live). Earlier Boston Symphony accounts

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42 m of the Brahms Third were recorded by Serge Koussevitzky in 1945 (originally RCA; reissued on a Pearl compact disc with Koussevitzky's 1938/39 BSO Brahms Fourth) and by Erich Leinsdorf in 1966 (RCA). BSO Music Director James Levine has recorded the four Brahms symphonies twice: in 1975-76 with the Chicago Symphony Orchestra (RCA) and "live" with the Vienna Philharmonic between 1992 and 1995 (Deutsche BB0H9| Grammophon). Other noteworthy cycles of all four symphonies include Nikolaus Harnon- court's with the Berlin Philharmonic (Teldec); Charles Mackerras's with the Scottish Chamber Orchestra, in "period style" with interpretive choices suggested by documen- tation from Meiningen, Germany, where Brahms himself frequently conducted the or- Bill chestra (Telarc); Daniel Barenboim's with the Chicago Symphony Orchestra (Erato), and ••.;.'•. Herbert von Karajan's with the Berlin Philharmonic (Deutsche Grammophon). The young British conductor Daniel Harding's pairing of Brahms's Third and Fourth sym- Bremen is marked by youthful exu- p::-r - berance, a strong sense of rhythm, an informed sense of period style—including anti- :r phonal seating of the first and second violins—and clear textures (Virgin Classics). Though seemingly unlisted at the moment, George Szell's recording of the Brahms Third with the Cleveland Orchestra is well worth tracking down (Sony Classical). 1111 For those interested enough in historic recordings to listen through dated sound, there are recordings of the Brahms Third by Wilhelm Furtwangler with the Berlin Philhar- --' • monic (Music & Arts), Guido Cantelli with the Philharmonia Orchestra (Testament), •*':" and Arturo Toscanini with the NBC Symphony (preferably the February 1941 concert ' : V-.- performance available for at least a while on Naxos, and much preferable to his com- V mercial recording for RCA) and the Philharmonia Orchestra of London (from a 1952 ' yuu Brahms cycle with that orchestra, on Testament). The Brahms recordings of Willem a Mengelberg with the Concertgebouw Orchestra of Amsterdam (Naxos Historical) and of Felix Weingartner with the London Philharmonic and London Symphony Orchestra (recently reissued on budget-priced Living Era CDs) will be important to anyone inter- ested in the recorded history and performance practice of these works. Mengelberg's ~ v • Brahms Third is from 1931; Weingartner's, with the London Philharmonic, is from 1938. -'•' —Marc Mandel • <> .

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Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's

official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web 83BIF site offers a wide range of information on other BSO activities, biographies of BSO musi- cians and guest artists, current press releases, historical facts and figures, helpful telephone gSMW

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44 Bernard Haitink "•* Appointed principal conductor of the Chicago Symphony Orchestra

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£lys6es in Paris. Mr Haitink has recorded widely for the Philips, Decca, and EMI labels, gHEwn including complete cycles of Mahler, Bruckner, and Schumann symphonies with the Con- 5HH certgebouw and extensive repertoire with the Berlin Philharmonic, Vienna Philharmonic, and Boston Symphony Orchestra. His most recent recordings are the complete Brahms and Beethoven symphonies with the London Symphony Orchestra on LSO Live. His disco- mm also includes opera recordings with the Royal Opera and Glyndebourne, as graphy many SBtf well as with the Bavarian Radio Orchestra and Dresden Staatskapelle. His recording of Jan££ek's Jenufa with the orchestra, soloists, and chorus of the Royal Opera House, Covent Garden, received a Grammy Award for best opera recording in 2004. With the Boston Symphony Orchestra he has recorded Brahms's four symphonies and Alto Rhapsody, orchestral works of Ravel, and Brahms's Piano Concerto No. 2 with soloist Emanuel Ax. Haitink has received many international awards in recognition of his services to Mr. HP music, including both an honorary Knighthood and the Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. He was recently named Musical America's "Musician of the Year" for 2007. Bernard Haitink made his Boston Symphony Orchestra debut in February 1971, became the orchestra's principal guest conductor in 1995, and was named conductor emeritus of the BSO in

2004. In addition to concerts in Boston, he has led the orchestra at Tanglewood (appear- Kh-i'. |Ui ing there for the first time in 1994), Carnegie Hall, and on a 2001 tour to the European ICEflS

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48 summer music festivals. His most recent BSO appearances were for two subscription programs last season (Ravel/Mozart/Debussy/Roussel in January 2006, and Mahler's I Symphony No. 6 in February). He will return to Symphony Hall next season, in March 2007, to lead the BSO in Bach's St. Matthew Passion, and a program pairing Bartok's soloist Schiff) with Schubert's Great C major symphony. Piano Concerto No. 3 (with Andras BFn Emanuel Ax Emanuel Ax appears each season with major symphony orchestras worldwide, in recital, and in chamber music, as well as commis- sioning and performing new music, and adding to his acclaimed Sony Classical discography. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv, followed by the Michaels Award of Young Concert Artists in 1975 and, four years later, the Avery Fisher Prize. An exclusive Sony Classical recording artist since 1987, he made his label debut with Chopin scherzos and mazurkas. He has also recorded two-piano music with Yefim Bronfman, Chopin's complete works for piano and orchestra, Brahms's Piano Concerto No. 2 with Bernard Haitink and the Boston Symphony, the complete Haydn piano sonatas (two discs of which have won Grammys), the two Liszt concertos paired with the Schoenberg Concerto, three solo Brahms albums, an album of tangos by Astor Piazzolla, and John Adams's Century Rolls. For the New York Philharmonic's 2006 Opening Gala, Messrs. Ax and Bronfman performed Mozart's Concerto for Two Pianos conducted by Lorin Maazel, telecast live nationally. Mr. Ax returns to the New York Philharmonic later this season for the two Brahms piano concertos. As an "On Location" artist with the Los Angeles Philharmonic, he participates in chamber and orchestral programs centered around Mozart and Strauss. With his wife, pianist Yoko Nozaki, he will bring a Mark Morris Dance Company collabo- ration, originally conceived for the 2006 Mostly Mozart Festival, to Vienna and London. Tours include Mozart concertos with Orpheus on the west coast, Florida with the Atlanta Symphony, a ten-city recital tour, duos with bassist Edgar Meyer, and concerts in Japan with Yo-Yo Ma. Mr. Ax has worked regularly with such artists as Young Uck Kim, Cho- Liang Lin, Yo-Yo Ma, Peter Serkin, and Jaime Laredo, and was a frequent collaborator with the late Isaac Stern. His recording of the Beethoven and Brahms cello sonatas with Yo-Yo Ma won three Grammy awards. The pair has also teamed with Richard Stoltzman

- for a Grammy-winning album of clarinet trios, and with Pamela Frank, Rebecca Young, and Edgar Meyer for Schubert's Trout Quintet. The Ax-Stern-Laredo-Ma Quartet recorded the piano quartets of Beethoven, Brahms, Dvorak, Faure, Mozart, and Schumann. Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a fir young boy. His studies at the Juilliard School were greatly supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. His piano teacher was Mieczylaw Munz. He attended Columbia University, where he majored in French. For more information about Mr. Ax, please visit www.EmanuelAx.com. Emanuel Ax made his BSO debut at Tangle- *« wood in 1978 and has since been a frequent guest soloist with the orchestra. His most recent subscription appearances were in October 2003, for Franck's Symphonic Vari- ations led by Bernard Haitink (a program also performed at Carnegie Hall). He appeared three times at Tanglewood in 2006: as soloist in Mozart's E-flat piano concerto, K.482, under Bernard Haitink during the BSO's opening weekend in July; in an all-Beethoven recital with Yo-Yo Ma in August; and as soloist in Beethoven's Piano Concerto No. 2 with Herbert Blomstedt conducting during the BSO's final weekend of the summer.

49 2006-07 Season Supporters of Named Concerts and Guest Artist Appearances

The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2006-07 Season. Concerts are available for naming to Boston Symphony Orchestra and Boston Pops Annual Fund supporters of $25,000 or more and may be endowed for a minimum of ten years.

2006-07 Named Concerts

October 5 The Beranek Concert October 6 The Fanny Peabody Mason Memorial Concert

October 9 Supported by The Billy Rose Foundation

October 19 The Eloise and Raymond H. Ostrander Memorial Concert

October 28 The Gregory E. Bulger Foundation Concert

November 9 The Virginia Wellington Cabot Memorial Concert

November 25 The Joseph McNay Concert

December 1 The Jane deP. and Edwin S. Webster Memorial Concert

December 2 Presented in loving memory of Jackie Confortes Covo by her mother, Alice Confortes

December 8 Supported by a generous bequest from Arlene M. Jones

December 9 The Deborah and William R. Elfers Concert

January 5 The Marie L. Audet Gillet Concert

January 6 The Fernand Gillet Concert

March 23 The Norman V. and Ellen B. Ballou Memorial Concert

March 25 Supported by a generous gift to the Artistic Initiative from the

Richard P. and Claire W. Morse Foundation

April 6 The Mr. and Mrs. Jeffrey E. Marshall Concert, in memory of Dr. William P. Soderberg

April 19 The Mr. and Mrs. John J. Cullinane Concert

April 26 The Edward and Joyce Linde Concert

April 27 The Walter Piston Society Concert

50 2006-07 Named Concerts (continued)

April 28 The Stephen and Dorothy Weber Concert

May 1 The Nathan R. Miller Family Concert

May 3 - Presented in honor of the members of the Higginson Society who support the Boston Symphony Annual Fund at the patron level

May 3 The Jan Brett and Joseph Hearne Concert

May 4 The Mr. and Mrs. Peter A. Brooke Concert

May 5 The Henry Lee Higginson Memorial Concert

2006-07 Named Support of Guest Artists

Peter Serkin Roberta M. Strang Memorial Fund

Soloists, The Damnation of Faust, Alan J. and Suzanne W. Dworsky and all appearances by the Fund for Voice and Chorus Tanglewood Festival Chorus

Soloists, El Nino Ethan Ayer Fund

Deborah Voigt Elfers Fund for Performing Artists, established in honor of Deborah Bennett Elfers

Paul Groves In memory of Mary Rousmaniere Gordon

Andre Previn Helen and Josef Zimbler Fund

Emanuel Ax In memory of Hamilton Osgood

Sergey Khachatryan Gomidas Organ Fund in memory of Berj Zamkochian

The benefits of naming a concert or guest artist appearance include backstage visits, special receptions, program book recognition, and individually tailored privileges. If you would like to learn more about the opportunity of naming a concert or guest artist appear- ance, please call Nancy Baker, Director of Major and Planned Giving, at (617) 638-9269. Thank you.

51 52 BOSTON SYMPHONY ORCHESTRA 2006-2007 SEASON

ginson Society

sun Society embodies a deep commitment to supporting musical excellence continuing the legacy of Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson. The BSO is grateful to Higginson Society members whose invest- ment during the 2005-06 season provided $2.9 million to support the Orchestra. We acknowledge the generosity of current Higginson Society donors listed below, whose gifts were received by March 6, 2007.

For more information about joining the Higginson Society, contact Yong-Hee Silver, Manager of the Higginson and Fiedler Societies at (617) 638-9253 or [email protected].

virtuoso-$50,ooo to $99,999

Mr. and Mrs. George D. Behrakis Mr. John F. Cogan, Jr., and Peter and Anne Brooke Ms. Mary L. Cornille Catherine and Paul Buttenwieser Mr. and Mrs. John S. Reed

encore-$25,ooo to $49,999

Gregory E. Bulger Joseph C. McNay John and Diddy Cullinane Mrs. Henrietta N. Meyer

William and Deborah Elfers Mr. Robert J. Morrissey Mr. and Mrs. Steven S. Fischman Megan and Robert O'Block The Gomidas Organ Fund, Inc. Mr. Irving W. Rabb

Mr. and Mrs. Amos B. Hostetter, Jr. Susan and Dan Rothenberg Mr. and Mrs. Stephen R. Karp Stephen and Dorothy Weber Joyce and Edward Linde Roberta and Stephen R. Weiner Mr. and Mrs. John M. Loder Mrs. Henry Wheeler

Mr. and Mrs. Jeffrey E. Marshall Rhonda and Michael J. Zinner, M.D.

MAESTRO-$15,000 to $24,999

Harlan and Lois Anderson Sally Lupfer Gabriella and Leo Beranek Carmine and Beth Martignetti William David Brohn Kate and Al Merck Samuel B. and Deborah D. Bruskin Annette and Vincent O'Reilly Dr. and Mrs. Philip D. Cutter William and Lia Poorvu

Alan J. and Suzanne W. Dworsky Louise C. Riemer

Mr. and Mrs. Francis W. Hatch, Jr. Kristin and Roger Servison Mr. Paul L. King Mr. and Mrs. Samuel Thorne Lizbeth and George Krupp Robert C. Winters Richard and Susan Landon Drs. Richard and Judith Wurtman Bill and Barbara Leith Anonymous

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patrons-$io,ooo to $14,999

Dorothy and David Arnold Ms. Eunice Johnson and Mr. Vincent Panetta Ms. Lucille Batal Prof, and Mrs. Paul Joskow Mr. and Mrs. James L. Bildner Mr. and Mrs. George H. Kidder Mrs. Linda Cabot Black Mrs. Harvey Krentzman

Mr. and Mrs. John M. Bradley Dr. and Mrs. Frederick H. Lovejoy, Jr.

Alan S. and Lorraine D. Bressler Shari Loessberg and Christopher Smart Jan Brett and Joseph Hearne Anne R. Lovett and Stephen G. Woodsum Ronald and Ronni Casty Richard P. and Claire W. Morse Foundation Mrs. Florence C. Chesterton-Norris Mrs. Robert B. Newman Mr. Joseph M. Cohen Jane and Neil Pappalardo

Mr. and Mrs. Abram T. Collier Mr. and Mrs. Daniel Pierce Don and Donna Comstock John and Susanne Potts Mrs. William H. Congleton Debbie and Alan Rottenberg

Lewis S. and Edith L. Dabney Carole and Edward I. Rudman Wayne Davis and Ann Merrifield Ms. Lynda Anne Schubert

Mr. and Mrs. Miguel de Braganca Ruth and Carl J. Shapiro Mr. and Mrs. Robert W. Doran Mr. and Mrs. Ross E. Sherbrooke Roger and Judith Feingold Mr. and Mrs. Christopher Smallhorn Mrs. Bruni Fletcher-Koch Ray and Maria Stata Richard and Joy Gilbert Mr. and Mrs. Daniel Waintrup Thelma and Ray Goldberg Mr. and Mrs. David C. Weinstein Roberta and Macey Goldman James and Jeanne Westra Mr. and Mrs. Raymond C. Green Mrs. Joan D. Wheeler Julie and Bayard Henry Anonymous

Mr. Timothy P. Home

sponsors-$5,ooo to $9,999

Alii and Bill Achtmeyer Mr. and Mrs. Albert M. Creighton, Jr.

Miss Barbara Adams Mr. and Mrs. Bigelow Crocker, Jr.

Mr. and Mrs. Walter Amory Tamara P. and Charles H. Davis II

Diane M. Austin and Aaron J. Nurick Charles and JoAnne Dickinson Mr. and Mrs. Sherwood E. Bain Nina L. and Eugene B. Doggett Mr. Christopher Barton Mr. Alan Dynner Doreen and Charles Bilezikian Mrs. Priscilla Endicott Brad and Terrie Bloom Pamela D. Everhart

Mr. and Mrs. John Bok Nancy J. Fitzpatrick and Lincoln Russell Mark G. and Linda Borden Mr. and Mrs. Dean W. Freed Barbara and Gary Bowen Myrna H. and Eugene M. Freedman Mr. and Mrs. William T. Burgin Mr. John Gamble Eleanor L. Campbell and Levin Campbell Richard B. and Nicki Nichols Gamble Ronald and Ronni Casty David Endicott Gannett Mr. Charles Christenson Jane and Jim Garrett Loring and Katinka Coleman Mrs. Bernice B. Godine

Bea and Woolsey Conover Carol R. and Avram J. Goldberg Consulate of The Republic of Hungary Mr. and Mrs. Mark Goldweitz Howard and Julia Cox Mr. Wallace K. Graham

Continued on page 57 55 J* •

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Northern Trust Banks are members FDIC © 2006 Northern Trust Corporation. The Higginson Society (continued)

SPONSORS-$5,000 to $9,999 (continued)

Mr. and Mrs. Robert S. Green Dr. Tina Young Poussaint and Mr. and Mrs. Ulf B. Heide Dr. Alvin Poussaint Carol and Robert Henderson Mr. and Mrs. Walter Pressey Mr. and Mrs. Richard D. Hill Mr. and Mrs. James D. Price Patricia and Galen Ho Peter and Suzanne Read Mrs. Marilyn Brachman Hoffman Mr. and Mrs. Laurence S. Reineman Mr. and Mrs. Charles Hood Donna Riccardi and Douglas Green Yuko and Bill Hunt Howard and Sharon Rich Cerise and Charles Jacobs Elaine and Jerome Rosenfeld Mr. Ernest K. Jacquet Mrs. George R. Rowland Holly and Bruce Johnstone Maureen and Joe Roxe/The Roxe Foundation

Edna S. and Bela T. Kalman Mr. Sean Rush Mr. and Mrs. Peter H. Kamin Roger and Norma Saunders Mr. and Mrs. Brian Keane Mr. Benjamin Schore and the late Gordon and Mary Ford Kingsley Mrs. Kira Founier-Schore Mrs. Barbara N. Kravitz Mr. and Mrs. Robert G. Scully Mr. and Mrs. Peter E. Lacaillade Mr. and Mrs. Douglas H. Sears Dr. Cynthia and Robert J. Lepofsky Ms. Eileen C. Shapiro and Reuben Eaves Don and Gini LeSieur Mr. Marshall H. Sirvetz Christopher and Laura Lindop Mr. Stephen Skinner

Mr. and Mrs. John F. Magee Gilda and Alfred Slifka Dr. and Mrs. Joseph B. Martin Mrs. Frederick J. Stare Dr. Robert and Jane B. Mayer Patricia Hansen Strang JoAnn McGrath Patricia L. Tambone

Dr. Martin C. Mihm, Jr. Mr. and Mrs. Theodore H. Teplow Prof, and Mrs. Robert H. Mnookin Mr. and Mrs. Charles W. Trippe, Jr. Mr. and Mrs. John D. Montgomery Robert A. Vogt Mr. and Mrs. Paul M. Montrone Ernst von Metzsch

Estate of Mr. and Mrs. Olney S. Morrill Mrs. Charles H. Watts II Mr. and Mrs. Peter M. Nicholas Lawrence and Dawn Weber Mr. and Mrs. E. Lee Perry Harry and Ruth Wechsler Ms. Ann M. Philbin Lynne and Frank Wisneski

William and Helen Pounds Anonymous (9)

MEMBERS-$2,500 to $4,999

Mrs. Herbert Abrams Mr. and Mrs. Lawrence Asquith Mr. William I. Bernell

Bob and Pam Adams Mr. and Mrs. Neil Ayer, Jr. Wally and Roz Bernheimer Mr. James E. Aisner Sandy and David Bakalar Leonard and Jane Bernstein

Harl and Lois Aldrich Ms. Hope L. Baker Ms. Jennifer I. Bessin

Mr. and Mrs. William F. Mrs. Connie Barnard Bob and Karen Bettacchi

Allen, Jr. Judith and Harry Ban- Mr. and Mrs. Philip W. Mrs. Rae D. Anderson Richard and Sally Bartley Bianchi Julian D. Anthony John and Molly Beard Benjamin and Annabelle Mr. and Mrs. Stephen Anthony Martin and Kate Begien Bierbaum Marjorie Arons-Barron and Deborah Davis Berman and Mr. and Mrs. Jordan Birger James H. Barron William H. Berman Mr. Peter M. Black

Continued on page 59 57 Sound investment advice. We've got you covered.

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58 The Higginson Society (continued) R

MEMBERS-$2,500 to $4,999 (continued)

Mrs. Stanton L. Black John P. II and Nancy S. Eustis Mr. and Mrs. Roger Hunt Ms. Sue Blessing Ziggy Ezekiel and Suzanne Joanie V. Ingraham Gertrude S. Brown Courtright Ezekiel Mr. Herbert R. Jacobs Mr. and Mrs. Donald Bruck Shirley and Richard Fennell Mimi and George Jigarjian

Mrs. Irving S. Brudnick Mr. and Mrs. Lawrence K. Fish Stephen K. and Mary P. Jones Dr. Matthew Budd and Mr. Barry Fogel Mr. and Mrs. Michael Joyce Ms. Rosalind Gorin Dr. and Mrs. Henry L. Foster Michelle and Steven Karol

Rick and Nonnie Burnes Mr. Robert C. Frank Mr. John F. Kelley Mr. and Mrs. Kevin T. Mr. Stefan M. Freudenberger Ms. Joan B. Kennedy

Callaghan Mr. and Mrs. Thomas J. Ms. Elizabeth C. Kent

Ms. Martha Corbett Galligan, Jr. Mr. and Mrs. Thomas P. King

David and Karin Chamberlain Mr. Martin Gantshar and Mrs. Mary S. Kingsbery Mr. and Mrs. James M. Clark Ms. Marcia Sprague Ms. Barbara M. Kirchheimer

Mr. and Mrs. Ronald C. Clark Mr. and Mrs. M. Dozier Seth A. and Beth S. Klarman Mr. and Mrs. Frederic M. Gardner Mr. Mason J. 0. Klinck, Sr. Clifford Rose and Spyros Gavris Sue and Harry Kohn Dr. and Mrs. Lawrence H. Arthur and Linda Gelb Mr. and Mrs. Melvin Kutchin Cohn Mr. Frank S. Gilligan and Mr. and Mrs. Benjamin H. Mr. Stephen Coit Mr. Mario Russo Lacy Mrs. I. W. Colburn Ms. Pamela Ormsbee Giroux Mrs. Eleanor Williams Ladd Marvin and Ann Collier Mr. and Mrs. Robert Gittens Roger and Myrna Landay Victor Constantiner Mr. and Mrs. Robert Glauber Mr. and Mrs. Robert A. Dr. Charles L. Cooney and Jordan and Sandy Golding Lawrence Ms. Peggy Reiser Mr. Mrs. L. and Arthur Mr. and Mrs. David S. Lee Mr. and Mrs. John L. Cooper Goldstein Mr. and Mrs. Alexander M. ' > Professor and Mrs. Stephen Mr. and Mrs. Daniel S. Levine ajgfM Crandall Gregory Emily Lewis Joanna Inches Cunningham David and Harriet Griesinger Mr. Andrew J. Ley and Chris Curdo Mr. and Mrs. Edward Groden Ms. Carol P. Searle £s£?r§ BBhk Joan P. and Ronald C. Curhan Mr. and Mrs. Graham Gund Keith Lockhart Edward Dailey and Ms. Gillian Stuart J. Hamer Mrs. Augustus P. Loring ;»» Mary Supple-Dailey Margaret L. Hargrove Caleb Loring, Jr. Robert and Sara Danziger Ellen and John Harris Richard and Nancy Lubin Paul F. and Lori A. Deninger Daphne and George Peter E. and Betsy Ridge Mr. John Deutch Hatsopoulos Madsen Mr. and Mrs. Peter A. Diamond Deborah Hauser Hinda and Arthur Marcus Phyllis Dohanian Dr. Edward Heller, Jr. Nancy Lurie Marks Mr. David L. Driscoll Mr. Gardner C. Hendrie and Foundation Mr. Wesley H. Durant, Jr. Ms. Karen J. Johansen Dr. and Mrs. John D. Matthews Mr. and Mrs. Philip J. Mrs. Noah T. Herndon Mr. Michael McElroy Edmundson Mr. James G. Hinkle and Bill and Ellen Meagher, Jr. Mrs. Caroline Edwards Mr. Roy Hammer Kurt and Therese Melden Dr. and Mrs. Mr. John Hitchcock Richard H. Trudi and Elliot Mishara Egdahl Mr. Albert A. Holman III and Amy and John Morgan Mrs. Betty M. Ellis Susan P. Stickells Robert and Jane Morse Mr. and Mrs. Richard S. Ms. Ruth Horowitz and Anne J. Neilson si Emmett Mr. Robert Schwartz Andrew Nichols and Dorothea and G. Lee and Diana Y. Bradford Roslyn Daum Endicott Humphrey Ms. Cornelia G. Nichols

Continued on page 61 59 2006 - 2007 SEASON

BOSTON SYMPHONY ORCHESTRA

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A SUBSCRIPTION PROGRAM FOR MUSIC ENTHUSIASTS BETWEEN THE AGES OF 21 AND 38

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60 The Higginson Society (continued)

MEMBERS-$2,500 to $4,999 (continued)

Mr. and Mrs. Frank Nicholson William and Kathleen Mr. and Mrs. Joseph Swiniarski

Mr. Roger P. Nordblom Rousseau Jeanne and John Talbourdet Mr. and Mrs. Richard Norman Arlene and David T. Rubin Mrs. Charles H. Taylor Mr. and Mrs. Geoffrey Nunes Jordan S. Ruboy, M.D. Mr. and Mrs. John L. Mr. William A. Oates Stephen and Eileen Samuels Thorndike

Mr. and Mrs. Gerald F. O'Neil Betty and Pieter Schiller Mr. and Mrs. Richard K.

Jason S. and Barbara Meltzer Mr. and Mrs. Marvin G. Schorr Thorndike Orlov Linda and Arthur Schwartz Mr. and Mrs. W Nicholas Dr. and Mrs. Oglesby Paul David and Marie Louise Thorndike Dr. and Mrs. Maurice Pechet Scudder Marian and Dick Thornton Mr. and Mrs. John A. Perkins Robert E. Scully, M.D. Marc Ullman Ms. Mary Perriello Maurice and Sarah Segall Mr. and Mrs. John H. Drs. James and Ellen Perrin Honorable Patti Saris and Valentine Ms. Margaret Philbrick and Arthur Segel Mr. and Mrs. Roger L. Voisin Mr. Gerald Sacks Robert G. Segel and Mr. and Mrs. Mark Volpe Mr. and Mrs. Edgar Philbrick Janice L. Sherman Mr. and Mrs. William G. Mr. Daniel A. Phillips and The Shane Foundation Walker Rev. Diana W. Phillips Mr. and Mrs. Malcolm L. Leo Wasserman Foundation/ Mrs. Richard Phippen Sherman Muriel K. Pokross, Trustee Bennett Aspel, M.D. and Dr. and Mrs. Andrew Silver Nancy T. Watts Ms. Joyce Plotkin Jack and Maggie Skenyon Matt and Susan Weatherbie Ms. Josephine Pomeroy John W. Spillane and Estate of Mr. Stetson Whitcher Ms. Helen C. Powell Rosemary A. Spillane Mrs. John W White

Mr. and Mrs. Richard Prouty Dr. and Mrs. Michael Sporn John C. Willis, Jr.

Ms. Sally Quinn Mr. and Mrs. Joseph D. Mrs. John J. Wilson Dr. and Mrs. James Rabb Spound Mr. and Mrs. Donald B. Wilson

Gale and Nancy Raphael Mrs. George R. Sprague Mr. and Mrs. Leslie J. Wilson Robert and Ruth Remis Maximilian and Nancy Jay A. Winsten and

Dr. and Mrs. George B. Steinmann Penelope J. Greene

Reservitz Thomas G. Sternberg Mrs. Cornelius A. Wood, Jr.

Mr. Kennedy P. Fredericka and Howard Mrs. S. Richardson Jane Young Stifi Mr. and Mrs. Mark V. Stevenson Dr. and Mrs. Nicholas T. Rickabaugh Mr. and Mrs. Galen L. Stone Zervas Mr. Henry S. Stone Marcia A. Rizzotto Mr. and Mrs. D. Brooks Zug mfi Estate of Robert Rohner Esta-Lee and Harris E. Stone Anonymous (24) Judith and David Rosenthal Mr. Hiroko Onoyama Sugawara

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62 BOSTON SYMPHONY ORCHESTRA 2006-2007 SEASON

Walter Piston Society

Walter Piston (1894-1976), who endowed the Principal Flute chair with a bequest, was a Pulitzer Prize-winning composer and noted musician. The Walter Piston Society was established in his name to honor those who have made life-income gifts and/or bequests to the Boston Symphony Orchestra, Tanglewood, or the Boston Pops.

As of January 31, 2007, members of the Walter Piston Society generously contributed more than $6.9 million to the Boston Symphony Orchestra through life income gifts and bequests during the 2006-2007 season.

If you would like more information on becoming a member, or if you find that your name is not listed and should be, please call Nicole Leonard, Assistant Manager of Planned Giving, at (617) 638-9262 or (888) 244-4694.

Mrs. Herbert Abrams Mrs. Ben Beyea Dr. and Mrs. James C. Ms. Eunice Alberts Mr. Peter M. Black Collias

Mr. Vernon R. Alden Benjamin S. Blake Mr. and Mrs. Abram T. Miss Rosamond W. Allen Dr. Nancy A. Bord Collier Mr. and Mrs. William A. Mrs. John M. Bradley Mr. and Mrs. Marvin A. Along Mrs. Alice C. Brennan Collier Mr. Matthew O. Anderson Jan Brett and Joseph Mrs. William H. Mrs. Rae D. Anderson Hearne Congleton

Dorothy and David Arnold Ruth and Alan J. Broder Dr. Michael T. Corgan Dr. David M. Aronson Peter and Anne Brooke and Sallie Riggs Corgan Ms. Germaine Arosa Phyllis Brooks Ms. Rebecca T. Coup Ms. Paula Ashton Mr. and Mrs. E. B. Brown Mr. and Mrs. F. Brooks Miss Eleanor Babikian Michael Buonsanto Cowgill

Mr. Henry W. D. Bain Mr. Richard-Scott S. Mr. and Mrs. Bigelow Mr. and Mrs. Sherwood E. Burow Crocker, Jr. Bain Mrs. Mary L. Cabot Joan P. and Ronald C. Mr. Donald Ball Ms. Edith W Campbell Curhan Dr. and Mrs. Richard Mr. and Mrs. Steven Mrs. Edith L. Dabney Balsam Castraberti Mrs. David Dangel Ms. Rosemarie Basile Mr. Charles Christenson Mr. Eugene M. Darling, Jr.

Mr. Joseph C. Beaudoin Ms. Deborah P. Clark Mr. and Mrs. Nelson J. Mr. and Mrs. Herman Kathleen G. and Gregory Darling, Jr. Becker S. Clear Tamara P. and Charles H. Davis II Robert Michael Beech Mr. Stewart Clifford, Jr. Ms. Maude S. Davis Gabriella and Leo Mr. John F. Cogan, Jr., and Beranek Ms. Mary L. Cornille Mr. Henry B. Dewey Mr. Ralph Berkowitz Ms. Carolyn A. Cohen Mr. Robert Djorup Deborah Davis Berman Saul and Mimi Cohen Nina L. and Eugene B. George and Joan Berman Mrs. Aaron H. Cole Doggett Dr. O. Donnenfeld Mr. William I. Bernell David Bruce Cole W

Continued on page 65 63 i&H

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Walter Piston Society ontinued)

Mr. and Mrs. Norman Jane W. and John B. Mr. and Mrs. Joseph Dorian Goodwin Hyman

Rev. and Mrs. J. Bruce Mrs. Clark H. Gowen Valerie and Allen Hyman Duncan Mr. and Mrs. Daniel S. Janet S. Isenberg Harriett M. Eckstein Gregory Emilie K. Jacobs

Ms. Marie J. Eger and Mr. Howard R. Grimes Mr. and Mrs. David Ms. Mary Jane Osborne Mr. and Mrs. Norman Jeffries Miss Mary C. Eliot Gritz Ms. Elizabeth W Jones Mrs. Richard S. Emmet Dr. and Mrs. Herbert A. Mr. and Mrs. H. E. Jones Mrs. Henri A. Erkelens Haessler Ms. Alice Joseph Jack W. Erwin Mr. Warren H. Hagler Edna S. and Bela T. Lillian K. Etmekjian Mr. and Mrs. Roger H. Kalman Mr. David H. Evans Hallowell, Jr. Dr. Alice S. Kandell Ms. Marilyn Evans Mr. Michael A. Halperson Mrs. Richard L. Kaye Mrs. Samuel B. Feinberg Margaret L. Hargrove Ms. Nancy Keil

Mr. Gaffney J. Feskoe Mr. and Mrs. G. Neil George H. Kidder Miss Elio Ruth Fine Harper Athena and Richard C. Peter and Bev A. Mr. Warren Hassmer Kimball Fischer Mr. and Mrs. Francis W. Mary S. Kingsbery Mr. Stuart M. Fischman Hatch Ms. Marsha A. Klein Mr. L. Antony Fisher Deborah Hauser Ms. Virginia B. Kleinrock

Ms. Dorothy M. Fitch and Mr. Harold A. Hawkes Mr. Mason J. 0. Mr. John H. Munier Mr. Robert R. Hayward Klinck, Sr. Mr. and Mrs. John H. Mr. and Mrs. Milan A. Ms. Kathleen Knudsen Fitzpatrick Heath, Jr. Audrey Noreen Koller Ms. Rheba Flegelman Julie and Bayard Henry Joan Hudson Kopperl Elaine Foster Miss Roberta G. Hill Mr. and Mrs. Robert K. Mr. and Mrs. Dean W. Mr. James G. Hinkle, Jr. Kraft Freed Mrs. Richard B. Hirsch Mrs. Harvey Chet Dr. Joyce B. Friedman Mr. John Hitchcock Krentzman

Mr. William H. Ganick Eloise W and Arthur C. Mr. George F. Krim David Endicott Gannett Hodges Mr. and Mrs. Rudolf M. Mr. Gabor Garai and Mr. James Hoerle Kroc Ms. Susan Pravda Joan and Peter Hoffman Mr. Joel H. Laski and Mrs. James G. Garivaltis Mrs. Marilyn Brachman Mr. Lloyd W Johnson

Mrs. Henry C. Gill, Jr. Hoffman Mr. and Mrs. Robert A. Mr. and Mrs. Leonard Mr. and Mrs. Howard K. Lawrence Gilman Holladay Dr. Robert Lee Mrs. Joseph Glasser M. A. B. Holmes Mrs. Shirley Lefenfeld Susan Godoy Ms. Emily C. Hood Bill and Barbara Leith

Thelma and Ray Goldberg Silka Hook Mrs. Vincent J. Lesunaitis Ms. Claire Goldman Mr. Charles A. Hubbard II Jeffrey and Delia Levy Mr. Mark R. Goldweitz Mr. and Mrs. F. Donald Dr. Audrey A. Lewis Hudson Hugo and Midge Golin Tftl Mrs. T. Herbert Lieberman Hon. Jose A. Gonzalez, Mr. Holcornbe A. J. Mrs. George R. Lloyd Jr., and Mary Copeland Hughes Ms. Jean Lunn Gonzalez Diane H. Lupean

Continued on page 66 65 Walter Piston Society (continued)

Kathryn H. Lupean Michael L. Nieland, MD Robert and Ruth Remis Mr. and Mrs. Donald Mrs. Mischa Nieland Ms. Carol Ann Rennie Malpass, Jr. Koko Nishino Marcia and Norman Ruth G. Mandalian Mr. Richard C. Norris Resnick

Dr. and Mrs. Matthew B. Carol J. Noyes Barbara Rimbach Mandel Mrs. Louise C. Noyes- Dr. and Mrs. Edmond Irma S. Mann Balboni Rittner

Mr. Russell E. Marchand Dr. Peter Ofner Elizabeth P. Roberts

Jay Marks Annette and Vincent Mr. David Rockefeller, Jr.

Mrs. Nancy Lurie Marks O'Reilly Dr. J. Myron Rosen Miss Charlotte N. May Mrs. Stephen D. Paine Mr. and Mrs. Jerome Mrs. Barbara McCullough Mrs. Marion S. Palm Rosenfeld Mrs. Richard M. McGrane Dr. and Mrs. Egidio Papa Mr. James L. Roth Mr. and Mrs. David Catherine Lillios Pappas Mrs. George R. Rowland McKearnan Ms. Mary B. Parent Arnold Roy Mrs. Williard W. Mrs. Jack S. Parker Dr. Jordan S. Ruboy McLeod, Jr. Janet Fitch Parker Mr. Paul W. Runge Mr. and Mrs. Russell P. Dr. and Mrs. Oglesby Mr. Robert Saltonstall Mead Paul Mr. Robert M. Sanders Mr. and Mrs. Heinrich A. Mr. and Mrs. John B. Mr. Stephen Santis Medicus Pepper Ms. Carol Scheifele- Dr. Joel R. Melamed Mr. and Mrs. John A. Holmes and Mr. Ben L. Mr. Richard P. Menaul Perkins Holmes Mrs. August R. Meyer Polly Perry Dr. Raymond and Hannah

Richard Mickey and Mrs. Roger A. Perry, Jr. H. Schneider Nancy Salz Mrs. Thomas D. Perry Dr. and Mrs. Leslie R. Dr. Martin C. Mihm, Jr. Margaret D. Philbrick Schroeder Miss Margo Miller Muriel K. Pokross Gloria Schusterman Mr. and Mrs. Nathan R. Mrs. Rita Pollet Mrs. Aire-Maija Schwann Miller William and Lia Poorvu Mr. and Mrs. George G. Mrs. Beverly F. Mills Dr. Alfred Pope Schwenk

Mrs. Elting E. Morison Mr. Peter J. Previte Mr. and Mrs. Thomas J. Richard P. and Claire W. Dr. Robert 0. Preyer Scott Morse Ms. Carol A. Procter Miss Alice M. Seelinger Mrs. Wells Morss Mrs. Daphne Brooks Mrs. George James Mr. James Edward Prout Seibert

Mulcahy Mrs. Millard H. Pryor, Jr Mr. and Mrs. Roland E. Mrs. Robert M. Mustard Miss Lillian A. Purdy Shaine Ms. Katharine S. Nash Mr. Irving W. Rabb Mr. Wolf Shapiro Robert B. and M. Lee Neff Herbert Rakatansky MD Mrs. Robert L. Sharp Anne J. Neilson and Barbara Sokoloff Dr. Richard M. Shiff Trust Mrs. Silverman Dr. Diana F. Nelson Mr. John B. Read Jr. Jane Mr. and Mrs. K. Fred Peter and Suzanne Read Mr. and Mrs. Robert L. Netter Singleton in; Kenneth Sawyer Recu Barbara F. Sittinger Mrs. Robert B. Newman John S. Reidy Alan A. and Barbara Professor Josephine R. Dr. and Mrs. Jan P. Nicoll Reiter Skalicky

66 Walter Piston Society (continued)

Doctors Jane Slaughter Mr. and Mrs. Samuel Mrs. Amos N. Wilder and Firmon E. Thome Mrs. Mary Wilkinson- Hardenbergh Ms. Amy Thornton Greenberg Mr. and Mrs. Christopher Mr. and Mrs. Carlos H. Mr. and Mrs. Richard E. E. Smith Tosi Willett Mrs. W. D. Sohier Diana 0. Tottenham Georgia H. Williams

Mrs. Joseph P. Solomon Miss Ruth Tucker Mr. Jeffery D. Williams

Drs. Norman Solomon Mr. Joseph F. Urner and Mr. and Mrs. John and Merwin Geffen Ms. Lorian R. Brown Williams Mr. and Mrs. Harold Mr. and Mrs. Robert A. Mrs. Margaret Williams- Span- Vieira DeCelles Mrs. Nathaniel H. Sperber Mr. and Mrs. Mark Volpe Mr. and Mrs. Donald B. Mr. Thomas A. Stalker Mrs. Arthur A. Wahmann Wilson

Ray and Maria Stata Carol A. and Henry J. Mrs. John J. Wilson

Dr. Harold J. Stein and Walker Mr. and Mrs. Leslie J. Kay E. Stein Sidney Walker Wilson Thomas G. Sternberg Lyle Warner Jeanne H. Wolf

Miss Marylen R. I. Ray and Barbara Warner Chip and Jean Wood Sternweiler Ms. Kathleen M. Webb Miss Elizabeth Woolley Mr. Josiah Stevenson IV Stephen and Dorothy Mrs. Eleanor Wright Miss Ruth Elsa Stickney Weber Drs. Richard and Judith Mrs. Patricia Hansen Catherine M. Werder Wurtman Strang Ms. Carol A. Whitcomb Mr. David Yalen Mr. and Mrs. Jonathon D. Mrs. Constance V.R. Lisl Zausmer

Sutton White Dr. and Mrs. Nicholas T. Mrs. Nathan B. Talbot Mrs. Thomas H.P. Zervas Jean-Noel and Mona N. Whitney Mrs. Kate Zigmond Tariot Dr. Michael Wiedman Isa Kaftal and George 0. Mr. Thomas Teal Mr. and Mrs. Mordechai Zimmerman Mr. and Mrs. John L. Wiesler Anonymous (27) Thorndike

67 NEXT PROGRAM...

Thursday, May 3, at 8 Pre- Concert Talks by Friday, May 4, at 1:30 Marc Mandel, BSO Director of Program Publications Saturday, May 5, at 8

BERNARD HAITINK conducting

SHOSTAKOVICH Violin Concerto No. 1 in A minor, Opus 77[99] Nocturne Scherzo Passacaglia Burlesque SERGEY KHACHATRYAN

INTERMISSION

BEETHOVEN Symphony No. 3 in E-flat, Opus 55, Eroica

Allegro con brio Marcia funebre. Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

For BSO Conductor Emeritus Bernard Haitink's season-closing program, he is joined by young Armenian violinist Sergey Khachatryan in his BSO debut, perform- ing Shostakovich's Violin Concerto No. 1. Shostakovich wrote this beautiful and per-

sonal piece for David Oistrakh originally in 1948-49, but suppressed it and brought

it out in revised form in 1955, under a new opus number. Beethoven's remarkably dramatic Eroica Symphony was a great leap forward for the genre of the symphony. Written in 1803, the Eroica was initially intended as an homage to Napoleon Bona- parte, but Beethoven, reacting against Napoleon's political aspirations, later angrily withdrew the dedication.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5 handling fee for each ticket ordered by phone or over the internet.

68 .

COMING CONCERTS . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday 'C—May 3, 8-10 Sunday, May 6, at 3 p.m. Friday 'B'—May 4, 1:30-3:30 Jordan Hall, New England Conservatory Saturday 'A'—May 5, 8-10 BOSTON SYMPHONY CHAMBER BERNARD HAITINK conducting PLAYERS SERGEY KHACHATRYAN, violin GOLIJOV Lullaby and Doina

SHOSTAKOVICH Violin Concerto No. 1 MASLANKA Quintet for Winds No. 3 BEETHOVEN Symphony No. 3, (1999) Eroica SCHUBERT Octet in F for strings and winds, D.803

Programs and artists subject to change.

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A long record of competitive returns, delivered by For rates and a disciplined, rigorous information on investment approach. advertising in the Leadership and innovation Boston Symphony, in change-making social Boston Pops, screening and advocacy. and Tanglewood program books Trillium Asset Management Corporation please contact: 617-423-6655 STEVE GANAK AD REPS www.trilliuminvest.com (617) 542-6913, in Boston. BOSTON SAN FRANCISCO DURHAM BOTSE

69 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

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MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY

Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

70 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 performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 announce- ment 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) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 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 $5 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.

FOR PATRONS WITH DISABILITIES, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289.

THOSE ARRIVING LATE OR RETURNING TO THEIR SEATS will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 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 at- tend 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 $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings.

71 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 Hunting- ton Avenue.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed 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 Hatch 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 Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 99.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority ticket information and other benefits depending on their level of giving. 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 the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recog- nition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected].

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, 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 www.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.

72 £*3 mm

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THROUGH JULY 8 *'••'

Media sponsor is Classical 99.5 WCRB.

.y.,^,/ Donatello, Madonna of the Clouds, (detail), about 1425-35. Stone; marble. Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr., and Mrs. Marian Shaw Haughton.

Through Six Generations: The Weng Collection of Chinese Painting and Calligraphy

THROUGH AUGUST 1

Weng Tonghe, One-stroke Calligraphy of the Character "Hu, " Tiger (detail),

Chinese, Qing Dynasty, 1 890. Ink on paper. Wan-go H. C. Weng Collection.

A '' '",•'' War and Discontent

APRIL 10-AUGUST 5

Millennium Bostonian Hotel is the exclusive hotel sponsor.

Suara Welitoff , still from Airplanes. 2002. Film/video. Maud Morgan Xhu Prize Purchase Fund.

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For more information on programs and J9era: exhibitions, please visit www.mfa.org or

call 617-267-9300. Open 7 days a week & What will you find this time? TTfJ? BOSTON

SEE THESE EXHIBITIONS FOR FREE WITH GENERAL ADMISSION newenglandcadillac. com

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232 BOYLSTON STREET (ROUTE 9) CHESTNUT HILL, MA 02467 617.969.6262 &? 1.800.328.4326 www.davidandcompany.com The Boston Symphony Orchestra brings together many talents to create a

consistently extraordinary musical experience.

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world's leading financial firms, we work closely with our clients to deliver the

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the achievement of this outstanding orchestra along with you. You & Us.

UBS is the proud season sponsor of the Boston Symphony Orchestra.

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