Week 5 Dzenitis Shostakovich Tchaikovsky

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 5 dzenitis- shostakovich tchaikovsky

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 5

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 23 music, the ultimate renewable energy by gerald elias 31 a message from andris nelsons 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Andris Dzenitis¯ 43 Dmitri Shostakovich 51 Pyotr Ilyich Tchaikovsky 61 To Read and Hear More…

66 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on november 9 is given by author/lecturer harlow robinson.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Now on view mfa.org/pastels

Supported by the Robert Lehman Foundation and Davis and Carol Noble. Edgar Degas, Dancers Resting (detail), 1881–85. Pastel on paper mounted on cardboard. Juliana Cheney Edwards Collection. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Board advisors of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 5 trustees and advisors 3 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt † • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky † • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins † • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of September 20, 2018

† Deceased

week 5 trustees and advisors 5 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

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New England Conservatory and BSO Present “What I Hear” on Thursday, November 8, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The first of this season’s three “What I Hear” events is on Thursday, November 8, featuring Latvian composer Andris Dzenītis, whose orchestral work M a¯ r a , co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig, receives its American premiere on that evening’s 8 p.m. BSO concert. Upcoming sessions feature Finnish composer Kaija Saariaho on Thursday, January 24, and American composer Sebastian Currier on Thursday, May 2.

BSO 101, the BSO’s Free Adult Education Series, Wednesday, November 14, 5:30-7 p.m. at Symphony Hall “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities, and increase your enjoyment of BSO performances, through discussion of repertoire to be played in upcoming concerts, focusing on aspects of musical form and of the composers’ individual musical styles. For the next session—“Orchestral Palettes I,” on Wednesday, November 14, from 5:30-7 p.m.—BSO Director of Program Publications Marc Mandel is joined by percussionist Richard Flanagan to discuss symphonies of Mahler, Beethoven, Dvoˇrák, and John Harbison. Each BSO 101 session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. In addition, a free tour of Symphony Hall is offered immediately following each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place; please call (617) 266-1200 or visit bso.org and go to “Education & Community” on the home page.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m., followed by a coffee-and-dessert reception for the audience and musicians. This season’s next Community Chamber program—on November 11 at Davis Museum in Wellesley, and November 18 at Bunker Hill Community College—features BSO violinists Tatiana Dimitriades and Glen Cherry, violists Rebecca Gitter and Rachel Fagerburg, and cellist Adam Esbensen

week 5 bso news 7 in Mozart’s C major string quintet, K.515, and Mendelssohn’s A minor string quartet, Op. 13. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include this week’s program under Andris Nelsons of Shostakovich’s Symphony No. 1, Andris Dzenītis’s BSO-commissioned M a¯ r a , and Act II of Tchaikovsky’s The Nutcracker (November 10; encore November 19); and next week’s program with Maestro Nelsons conducting Mahler’s Symphony No. 5, preceded by HK Gruber’s Aerial featuring trumpet soloist Håkan Hardenberger (November 17; encore November 26).

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall are Marc Mandel (October 19, October 26, November 23), Robert Kirzinger (October 12, November 16, and November 30), and author/lecturer Harlow Robinson (November 9).

2018–2019 season andris nelsons music director

Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200.

8 individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Carmine A. and Beth V. vice-chair of the BWH Trust, president Martignetti Concert, Thursday, of the Friends of Brigham and Women’s November 8, 2018 Hospital, and on the hospital’s Board of The performance on Thursday evening is Trustees for twelve years. She has also supported by a generous gift from Great served as a member of the Harvard School Benefactors Carmine A. and Beth V. of Public Health’s Dean’s Council. Mr. and Martignetti. Mr. and Mrs. Martignetti have Mrs. Martignetti are both graduates of been BSO subscribers for twenty consecutive Boston College, where they remain actively years, beginning in 1999. Mr. Martignetti involved as alumni. They have three children joined the BSO Board of Overseers that and reside in Chestnut Hill, MA. same year and was elected to the Board of Trustees in 2007. He served as a Vice-Chair The Walter Piston Society Concert of the Board of Trustees and a member of its Executive Committee from 2013 to 2017. He Friday, November 9, 2018 was also Chair of the Trustees Nominating The Walter Piston Society Concert honors and Governance Committee, and a member those who have provided a gift for the future of the Leadership Gifts and Overseers of the Boston Symphony Orchestra, Boston Nominating committees. Mr. and Mrs. Pops, or Tanglewood with a bequest inten- Martignetti served as co-chairs of the tion (i.e., through one’s will, trust, IRA, or Symphony Gala for the 2011-12 season, insurance policy), or by establishing a char- which raised more than $1.1 million for the itable trust or gift annuity that generates BSO, a record-breaking goal for the gala at income for life or a term of years. Members the time. They have also served as co-chairs of the Walter Piston Society enjoy a variety of Opening Night at Pops in 2007, and as of privileges, including invitations to special members of many gala committees. In addi- events, lectures, and seminars in Boston and tion to their support of Opening Night galas, at Tanglewood. In addition, Walter Piston the Martignettis have generously supported Society members may choose how they wish BSO corporate events and the Symphony to be recognized in program books and the and Tanglewood Annual Funds, among other BSO’s annual report. BSO initiatives. Walter Piston (1894-1976), who endowed Mr. Martignetti is president of Martignetti the principal flute chair with a bequest, Companies, the leading distributor of wine was a Pulitzer Prize-winning composer and spirits in New England. In addition to and noted musician. After studying under his involvement at the Symphony, he serves Georges Longy, he graduated from Harvard as chair of the Board of Trustees at Tabor and became chair of Harvard’s School Academy in Marion, MA, and as a trustee of Music. Mr. Piston played piano, violin, at Boston College in Chestnut Hill, MA. He flute, saxophone, viola, and percussion. He has also served as a trustee of the Brooks wrote four books on music theory that are School in North Andover, MA, and the Park acknowledged classics, and his notable stu- School in Brookline, MA. Mrs. Martignetti is dents included Leonard Bernstein. Late in also an active volunteer throughout Boston, life, the French government bestowed on currently serving on the Board of Advisors Mr. Piston the Officier de l’Ordre des Arts at the Isabella Stewart Garner Museum et des Lettres. The Boston Symphony and the President’s Advisory Council and Orchestra thanks and recognizes the mem- the Women’s Health Leadership Council bers of the Walter Piston Society, whose at Brigham and Women’s Hospital, where gifts will help to preserve this great orchestra she previously served as a member and for future generations.

week 5 bso news 9 NO ONE CHANGED THE WORLD BY STAYING PUT. Proud to be the Official Airline of the Boston Symphony Orchestra. Join our Community of the South Shore, Swampscott, Wellesley, Music Lovers— Weston, and Worcester in Massachusetts; The Friends of the BSO Nashua, New Hampshire; and Rhode Island. In addition, we offer bus service for selected As a music lover, you know how special concerts from the Holyoke/Amherst area. it is to experience a performance here at Taking advantage of your area’s bus service Symphony Hall. Attending a BSO concert not only helps keep this convenient service is a communal experience—thousands of operating, but also provides opportunities concertgoers join together to hear 100 to spend time with your Symphony friends, musicians collaborate on each memorable meet new people, and conserve energy. For performance. Without an orchestra, there further information about bus transportation is no performance, and without an audi- to Friday-afternoon Boston Symphony con- ence, it is just a rehearsal. There’s another certs, please call the Subscription Office at community that helps to make it all possi- (617) 266-7575. ble—the Friends of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed BSO Members in Concert support to cover annual expenses. Annual The Concord Chamber Music Society, found- membership gifts from the Friends of the ed by BSO violinist Wendy Putnam, performs BSO help bridge that gap. The Friends are Schubert’s String Trio in B-flat, D.581, Berg’s the cornerstone upon which the orchestra String Quartet, Opus 3, and Mozart’s String is built, keeping the music playing to the Quintet in C, K.515, on Sunday, November 18, delight of audiences all year long. In addition at 3 p.m. at Concord Academy Performing to joining our family of like-minded music Arts Center, 166 Main Street, Concord, MA. lovers, you’ll also enjoy a variety of exclusive Joining Ms. Putnam are violinist Axel Strauss, benefits designed to bring you closer to the BSO principal viola Steven Ansell, BSO assis- music you cherish. Friends receive advance tant principal viola Cathy Basrak, and cellist ticket ordering privileges, discounts at the Michael Reynolds. Members of the Boston Symphony Shop, and special invitations Youth Symphony Orchestra will perform to such behind-the-scenes donor events before the concert. Tickets are $47 and $38, as BSO and Pops working rehearsals, and discounted for seniors and students. For much more. Friends memberships start at more information, call (978) 405-0130 or just $100. To join our community of music visit concordchambermusic.org. lovers in the Friends of the BSO, contact the Friends Office at (617) 638-9276 or Collage New Music, founded by former BSO [email protected], or join online at percussionist Frank Epstein, performs works bso.org/contribute. by Nick Omiccioli, John Harbison, Melinda Wagner, and Jeffrey Mumford under the direction of David Hoose on Sunday, Novem- Friday-afternoon Bus Service ber 25, at 8 p.m. (pre-concert talk at 7 p.m.) to Symphony Hall at Edward M. Pickman Concert Hall at the If you’re tired of fighting traffic and searching Longy School of Music of Bard College, for a parking space when you come to Friday- 27 Garden Street, Cambridge. Among the afternoon Boston Symphony concerts, why performers are BSO members Catherine not consider taking the bus from your com- French, violin, Oliver Aldort, cello; and Clint munity directly to Symphony Hall? The Foreman, flute. General admission tickets at Boston Symphony Orchestra is pleased to $30, discounted for seniors and students, continue offering round-trip bus service on are available at collagenewmusic.org. Friday afternoons at cost from the following Founded by former BSO cellist Jonathan communities: Beverly, Canton, Cape Cod, Miller, the Boston Artists Ensemble performs Concord, Framingham, Holyoke, Milton, a program entitled “Trio of Trios” on Friday,

week 5 bso news 11 “MUSIC IS IN OUR SOUL.” Former Personnel Director of the BSO, Bill Moyer, and wife Betsy, a former piano teacher, love their suite at Newbury Court. It means more time with family and friends, and to pursue passions such as evenings out at Symphony Hall. more time for the arts Make time to visit Newbury Court. Call 978.369.5155 to arrange a tour. 100 Newbury Court Concord, MA 01742 facebook.com/newburycourt www.newburycourt.org

12 November 30, at 8 p.m. at Hamilton Hall in tracted not only by the illuminated screens Salem. Violinist Sharan Leventhal and pianist on these devices, but also by the physical Randall Hodgkinson join Mr. Miller for this movements that accompany their use. For program featuring Schubert’s Piano Trio in this reason, and as a courtesy both to those B-flat, D.898, Mendelssohn’s Piano Trio on stage and those around you, we respect- No. 1 in D minor, Op. 49, and Judith Weir’s fully request that all such electronic devices O Viridissima. Tickets are $30 (discounts for be completely turned off and kept from view seniors and students), available at the door. while BSO performances are in progress. For more information, call (617) 964-6553 In addition, please also keep in mind that or visit bostonartistsensemble.org. taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. Thank you very much for your Go Behind the Scenes: cooperation. The Irving W. and Charlotte F. Rabb Symphony Hall Tours On Camera With the BSO The Irving W. and Charlotte F. Rabb Sym- phony Hall Tours, named in honor of the The Boston Symphony Orchestra frequently Rabbs’ devotion to Symphony Hall through records concerts or portions of concerts a gift from their children James and Melinda for archival and promotional purposes via Rabb and Betty (Rabb) and Jack Schafer, our on-site video control room and robotic provide a rare opportunity to go behind cameras located throughout Symphony Hall. the scenes at Symphony Hall. In these free, Please be aware that portions of this con- guided tours, experienced members of the cert may be filmed, and that your presence Boston Symphony Association of Volunteers acknowledges your consent to such photog- unfold the history and traditions of the Bos- raphy, filming, and recording for possible use ton Symphony Orchestra—its musicians, in any and all media. Thank you, and enjoy conductors, and supporters—as well as the concert. offer in-depth information about the Hall itself. Tours are offered on select weekdays Comings and Goings... at 4:30 p.m. and some Saturdays at 5 p.m. during the BSO season. Please visit bso.org/ Please note that latecomers will be seated tours for more information and to register. by the patron service staff during the first convenient pause in the program. In addition, please also note that patrons who leave the Those Electronic Devices… auditorium during the performance will not As the presence of smartphones, tablets, and be allowed to reenter until the next conve- other electronic devices used for commu- nientpause in the program, so as not to dis- nication, note-taking, and photography has turb the performers or other audience mem- increased, there have also been continuing bers while the music is in progress. We thank expressions of concern from concertgoers you for your cooperation in this matter. and musicians who find themselves dis-

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For more information, contact John Morey at 617-292-6799 or [email protected] on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 5 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 5 andris nelsons 17 Boston Symphony Orchestra 2018–2019

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

first violins Catherine French* violas Mickey Katz* Robert Bradford Newman chair, Stephen and Dorothy Weber Malcolm Lowe endowed in perpetuity Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Jason Horowitz* Charles S. Dana chair, Alexandre Lecarme* Nancy and Richard Lubin chair endowed in perpetuity Ala Jojatu* endowed in perpetuity Adam Esbensen* Tamara Smirnova Bracha Malkin* Cathy Basrak First Associate Concertmaster Assistant Principal Richard C. and Ellen E. Paine Helen Horner McIntyre chair, Dorothea Vogel u Anne Stoneman chair, chair, endowed in perpetuity endowed in perpetuity endowed in perpetuity Oliver Aldort* Alexander Velinzon second violins Danny Kim u Associate Concertmaster Lois and Harlan Anderson chair, basses Robert L. Beal, Enid L., and Haldan Martinson endowed in perpetuity Bruce A. Beal chair, endowed Principal Edwin Barker Carl Schoenhof Family chair, Rebecca Gitter in perpetuity Principal endowed in perpetuity Harold D. Hodgkinson chair, Elita Kang u Michael Zaretsky* Julianne Lee° endowed in perpetuity Assistant Concertmaster Rachel Fagerburg* Edward and Bertha C. Rose chair, Assistant Principal Lawrence Wolfe Charlotte and Irving W. Rabb endowed in perpetuity Daniel Getz* Assistant Principal chair, endowed in perpetuity Maria Nistazos Stata chair, Yuncong Zhang Rebekah Edewards* endowed in perpetuity John and Dorothy Wilson chair, Sheila Fiekowsky Leah Ferguson*° endowed in perpetuity Shirley and J. Richard Fennell Benjamin Levy chair, endowed in perpetuity Kathryn Sievers* Leith Family chair, endowed Lucia Lin in perpetuity Dorothy Q. and David B. Arnold, Nicole Monahan David Lau u Jr., chair, endowed in perpetuity David H. and Edith C. Howie Dennis Roy chair, endowed in perpetuity Ikuko Mizuno cellos Joseph Hearne Ruth and Carl J. Shapiro chair, Ronan Lefkowitz Blaise Déjardin Todd Seeber* endowed in perpetuity Vyacheslav Uritsky* Principal Eleanor L. and Levin H. Campbell Bo Youp Hwang Jennie Shames* Philip R. Allen chair, chair, endowed in perpetuity Mary B. Saltonstall chair, endowed in perpetuity endowed in perpetuity Valeria Vilker Kuchment* John Stovall* Sato Knudsen Thomas Van Dyck* Aza Raykhtsaum* Tatiana Dimitriades* Mischa Nieland chair, Catherine and Paul Buttenwieser Si-Jing Huang* endowed in perpetuity chair flutes Wendy Putnam* Mihail Jojatu Bonnie Bewick* Sandra and David Bakalar chair Elizabeth Rowe Kristin and Roger Servison chair Xin Ding* Martha Babcock Principal Walter Piston chair, endowed James Cooke* Glen Cherry* Vernon and Marion Alden chair, in perpetuity Donald C. and Ruth Brooks endowed in perpetuity Heath chair, endowed Lisa Ji Eun Kim* Owen Young* Clint Foreman in perpetuity Myra and Robert Kraft chair, John F. Cogan, Jr., and Mary L. endowed in perpetuity Victor Romanul* Cornille chair, endowed Ronald G. and Ronni J. Casty in perpetuity Elizabeth Ostling chair Associate Principal Marian Gray Lewis chair, u BSO/GHO Musician Exchange participant: BSO members Elita Kang and Danny Kim endowed in perpetuity play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season while GHO members Dorothea Vogel and David Lau play with the BSO.

18 photos by Winslow Townson and Michael Blanchard

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

week 5 boston symphony orchestra 19

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Music, the Ultimate Renewable Energy by Gerald Elias

Former BSO violinist Gerald Elias, who continues to perform with the orchestra at Tanglewood and on tour, reflects on the BSO’s September 2018 tour to London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam.

There’s ample occasion for reflection amidst the classic “hurry up and wait” mode of international concert tours. Not onstage, of course, when it’s essential to remain focused on the task at hand, but certainly while in transit from one concert hall to the next. On the recent nineteen-day BSO tour to Europe there was one long train trip of 355 miles, plus no fewer than twenty bus rides for another 547, and six plane flights totaling 8,455 more. Not to mention waiting in airports and train stations for another twenty hours, more or less. All in all, plenty of time for mulling.

On one such excursion a window seat on the upper level of our bus from Hamburg to Berlin provided an ideal observation point to view the rolling farmland of central Germany. What better setting than such bucolic monotony to allow one’s mind to wander mind- lessly? It lulled one into the sense that all was right with the world. Yet we know very well that behind the tranquil façade, we live in a turbulent world. A changing climate is wreaking havoc on every continent, and the threat of terrorism—the result of geopolitical instability—is a constant, dark presence. What is our role? I wondered. What is the role of music and musicians in all this turmoil?

The first performance of the BSO’s 2018 European tour—Mahler’s Symphony No. 3 at the BBC Proms in London’s Royal Albert Hall, September 2, 2018

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Performing Bernstein’s Serenade for Violin and Orchestra with soloist Baiba Skride at the Philharmonie de Paris, September 16, 2018

Flanking the road, in the agriculturally unworkable strip of land between freeway and field, mile after mile of recently installed solar panel arrays caught my attention. Farther off, battalions of monumental windmills, so imposing they would have given Don Quixote pause, dotted the horizon. All this new technology to create renewable energy gave me a starting point to wonder how many gallons of fuel we’d consumed on all those trains, planes, and buses rumbling under our feet. From there, my imagination took flight, thinking about what potential untapped sources of energy humanity has not yet considered. Over the millennia, we’ve tried tallow, beeswax, olive oil, coal, wood, whales, gas, fossil fuel oil, and nuclear combustion.

And let us not forget the energy produced by human muscles. A case in point: During our stay in Paris, the sunny Sunday morning of September 16 had a festive atmosphere, the day having been declared car-free in the central city as part of that city’s commitment to the 2016 international climate change agreement that bears its name. As a result, the Champs-Élysées, usually congested with bumper-to-bumper traffic, was a pedestrian mall. Instead of engines revving and horns honking, all you heard was the cordial buzz of people talking! The only “motorized” vehicles were human-powered bicycles and scooters.

What progress we’ve made in the quest for efficient energy! Mozart might have penned the last notes of his Requiem under the dim rays of an oil lamp, the big technological breakthrough from candles. Beethoven, tucked away in the cellar of his brother’s house when Vienna was bombarded by Napoleon, might have had a gas lamp at his disposal to enable him to compose the Eroica Symphony. In Brahms’s last years, when he recorded the Hungarian Dance in G minor on a wax cylinder, he might have marveled at an incan- descent light bulb hanging over his piano keyboard. 20th- and 21st-century composers have had it easy being able to see what they were writing.

Now, given the urgency of reckoning with climate change, we’ve seen the rapid development of safely renewable sources of energy: solar, wind, and geothermal. But as our

week 5 music, the ultimate renewable energy 25 Jens Gerber

Performing Mahler’s Symphony No. 3 at the Gewandhaus in Leipzig, September 8, 2018, with the women of the Gewandhaus Chorus and the Gewandhaus Children’s Choir seated behind the orchestra

fuel-efficient bus hummed along the autobahn, it dawned on me that up to this very day, there has been a powerful source of renewable energy that has been providing light and warmth without interruption for all these centuries, but which has gone almost unrecognized: Music!

Scientifically, we’re told the energy in sound waves is far weaker than other forms of energy. But when you consider the effect of the complex jumble of the sound waves we call music on the human psyche, from the individual level all the way up to the societal, it’s hard to imagine an energy source more powerful, more transformative, and more sustaining.

That power becomes even more acute when performing in a Stradivari of a concert hall. In a sense, the more perfect the acoustics, the more “fuel efficient” the music, providing the listener literally more bang for the buck. That’s one reason it was such a pleasure to perform in three of the world’s four greatest concert halls on the tour: Berlin’s Philhar- monie, Vienna’s Musikverein, and Amsterdam’s Concertgebouw. (The fourth, if you’re wondering, is where you’re sitting right now.) The experience of playing in—and listening to—a great orchestra led by a great conductor performing great music in a great concert hall is transformative, and the energy from that experience, stored in the listeners’ mental batteries, radiates outward in all directions.

“In all directions” refers to time as well as space. When musicians walk onstage for a concert on an international tour, they not only represent our orchestra and the music, they become de facto ambassadors of our city and country. It’s quite a bit different from a business person going to an international conference, because orchestras have such a public face, seen and heard every night by thousands of different people representing all walks of life. While on tour, the musicians’ diplomatic role often extends outward

26 from the concert hall. Musicians have friends in other countries, meet with colleagues in other orchestras, or give master classes at conservatories from city to city. The energy of musical connections is passed from generation to generation and to every corner of the earth.

For all that these international tours have to commend them—the art and architecture, the music, the culture, the history, the food, the gardens, the museums, even the shopping—for me the most important thing is the one-on-one, the connections we make with people and not just places. That—and playing great music—is the most valuable export we can provide in our roles as international representatives.

I’d bet many of my colleagues would agree that, as musicians, if there is anything more gratifying and fulfilling than playing Beethoven in the Concertgebouw it’s seeing former students thrive and succeed. Why? When you consider the years of intensive, often grueling lessons that are part and parcel of helping students achieve their musical aspi- rations; of being part parent, part counselor, sometimes part therapist to your student; helping them find suitable instruments to play on, summer programs to participate in, scholarships to audition for, colleges to apply to, observing them wend their way through life—it’s almost like seeing your own child grow up. When the orchestra was in Lucerne, I had that very opportunity to witness the fruits of my labors as a teacher, of passing the torch of musical energy to the next generation.

One of my former Utah students, Celeste Carruth, currently living in Geneva, whom I had seen only once since she went off to college about ten years ago, visited me in Lucerne for a splendidly productive lesson of Mozart, Brahms, and Prokofiev. But the other half of Celeste’s story is the reason she’s in Geneva: after earning her Ph.D. in physics at Berkeley, she’s doing antihydrogen research at the CERN European Organization for Nuclear Research particle accelerator. (Don’t ask me to explain what antihydrogen is, Marc Mandel

A nighttime view of the Gewandhaus in Leipzig

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BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM Marco Borggreve

Performing Beethoven’s Symphony No. 7 to close the final concert of the tour on September 17, 2018, at the Concertgebouw in Amsterdam

but it must be quite a powerful source of energy because NASA estimates it costs $92 trillion to produce a gram of the stuff.) See what practicing your scales can do?

Back to Paris. As I strolled along the sunny Champs-Élysées, soaking up the car-free celebratory atmosphere, I was suddenly confronted by the dark shadow of our troubled times. A block from the Arc de Triomphe, a phalanx of police appeared out of nowhere. They quickly cordoned off a wide perimeter around the George V café, politely but firmly ordering pedestrians to detour around the block. I later learned that there had been a bomb scare or threat—I’m not sure which—that fortunately turned out to be a false alarm.

How will we deal with today’s challenges? The two main works of the Boston Symphony tour were the Mahler Symphony No. 3, which ends in joy and triumph, and the Shosta- kovich Symphony No. 4, which ends in fear and despair. In a way, that dichotomy is a reflection of Paris on September 16 and, more broadly, the world we currently live in. It’s up to all of us to determine which ending we want to hear. Humanity will be able to draw upon music as a vital source of renewable energy as long as there are musicians to transform black dots written on a piece of paper into the sound waves of music. As the Boston Symphony Orchestra once again demonstrated, music is a source of energy that can light up the world.

gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Music director since 2004 of the Vivaldi by Candlelight chamber orchestra series in Salt Lake City and author of the six-part Daniel Jacobus mystery series (including two audio books), he recently completed his first nonfiction work, “Symphonies & Scorpions,” which relives via stories and photos the BSO’s history-making 1979 concert tour to China and its return in 2014. An expanded version of a BSO essay from last season, “War & Peace. And Music,” was recently awarded first prize in creative nonfiction by the Utah Division of Arts and Museums. fi

week 5 music, the ultimate renewable energy 29

BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM

A Message from Andris Nelsons

Very Dear Friends

As we begin our fifth season of making music together, I could not be happier about the sense of family that continues to deepen the connections between the BSO, our devoted audience, and myself. This shared musical journey is so meaningful to all of us, and so important for bringing our entire community together, including not just our devoted subscribers, but so many new concertgoers we’re pleased to welcome to Symphony Hall.

The 2018-19 season has so much to look forward to, for example, Shostakov- ich’s first and last symphonies as part of our recording project with Deutsche Grammophon, concert performances of Puccini’s beautiful one-act opera Suor Angelica, Bruckner’s unfinished Symphony No. 9 as part of our ongoing exploration of his symphonies, all-Beethoven and all-Strauss programs, Bach’s Christmas Oratorio for our second “Leipzig Week in Boston,” and several commissioned works. These include the world premiere of Sebastian Currier’s Aether for violin and orchestra, co-commissioned by the BSO and Gewand- hausorchester Leipzig as part of our BSO/GHO Alliance, and the American premieres of two other BSO commissions, Mark-Anthony Turnage’s Remem- brances and Latvian composer Andris Dzenītis’ M a¯ r a . Latvian composer Maija Einfelde’s Lux aeterna this month and Dzenītis’ M a¯ r a in November are being performed to mark the 100th anniversary of Latvian independence.

We are also very happy to have three members of our BSO family conduct subscription programs in 2018-19—Associate Conductor Ken-David Masur in October, Artistic Partner Thomas Adès in March, and Youth and Family Concerts Conductor Thomas Wilkins also in March—and to working with so many wonderful guest artists in what promises to be such an exciting season.

Thank you as always for your great devotion and support, and for being here tonight. We look forward to seeing you at many more concerts this season.

With warm wishes,

week 5 a message from andris nelsons 31 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, November 8, 8pm | the carmine a. and beth v. martignetti concert Friday, November 9, 1:30pm | the walter piston society concert Saturday, November 10, 8pm | the casty family concert Tuesday, November 13, 8pm

andris nelsons conducting

andris dzeni¯tis “ma¯ra” for symphony orchestra (2018) (american premiere; co-commissioned by the boston symphony orchestra, andris nelsons, music director, through the generous support of the new works fund established by the massachusetts cultural council, a state agency) (performed to mark the centennial of latvian independence)

shostakovich symphony no. 1 in f minor, opus 10 Allegretto Allegro Lento Allegro molto

Please note that these performances of Shostakovich’s Symphony No. 1 are being recorded for future release as part of Andris Nelsons and the BSO’s complete Shostakovich symphony cycle on Deutsche Grammophon. Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated.

{intermission}

friday afternoon’s performance of shostakovich’s symphony no. 1 is supported by a gift from nancy herndon. saturday evening’s performance of shostakovich’s symphony no. 1 is supported by a gift from lloyd axelrod, m.d.

32 tchaikovsky “the nutcracker,” opus 71: act ii Scene: The Kingdom of Sweets Scene: Clara and the Prince Divertissement Chocolate (Spanish Dance) Coffee (Arabian Dance) Tea (Chinese Dance) Trepak Dance of the Reed Flutes The Old Woman Who Lived in a Shoe and her Children Waltz of the Flowers Pas de deux Dance of the Prince and the Sugar-Plum Fairy Variation I: Tarantella Variation II: Dance of the Sugar-Plum Fairy Coda Final Waltz and Apotheosis

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 5 program 33 The Program in Brief...

The composer Andris Dzenītis, born the same year, 1978, as his Latvian compatriot Andris Nelsons, wrote his new orchestral score M a¯ r a on commission for the BSO and the Gewandhausorchester Leipzig. In part commissioned to celebrate the 100th anniversary of Latvian independence, the work was premiered in Leipzig under Andris Nelsons’ direction. These are its first American performances. The single-movement piece is an exploration of Latvian identity through the symbolism of the region’s mythology; “Ma¯ra” is, according to the composer, the embodiment of the physical world and the “patroness of the visible, audible, tangible world.” Protean energy, intricate instrumental gestures, and rich, detailed orchestral colors characterize Dzenītis’s piece.

The remainder of the program offers works from late and early (very early!) in their respective composers’ careers. Following intermission, Andris Nelsons leads the complete second act of Tchaikovsky’s perennially popular ballet The Nutcracker. Tchaikovsky himself, however, was never aware of its popularity, since his three great ballets—Swan Lake, Sleeping Beauty, and The Nutcracker, the latter completed just the year before his death—met only failure or limited success during his lifetime. In the ballet’s scenario, a young girl, Clara, saves the life of a Nutcracker given to her as a Christmas gift, where- upon the Nutcracker is transformed into a handsome prince who takes her on a journey to his magical, confection-themed kingdom. Act I of the ballet is devoted to the story proper, whereas Act II concerns itself with the visit to the Prince’s kingdom and inven- tively varied musical depictions of its inhabitants—making it perfect for performance in the concert hall, and offering some of Tchaikovsky’s most familiar and best-loved music.

At the center of the program is Dmitri Shostakovich’s Symphony No. 1, written by the teenaged composer as a graduation exercise at the Leningrad Conservatory. The premiere by the Leningrad Philharmonic in May 1926 was an astonishing success, immediately marking Shostakovich as a significant voice in Soviet music. It would seem that some aspects of the composer’s musical personality as reflected in the symphony had already begun to materialize years earlier: an aunt of his, upon first hearing the piece in its 1928 American premiere, claimed to recognize in it bits of music she had heard him play as a child on the piano. The composer’s own description of the work (see page 45) offers a concise overview of its shape. Replete with ingenuities of rhythm, mood, and instrumental color (including a cleverly embedded piano part) that presage Shostakovich’s later symphonies—note, for example, the frequent use of march-like rhythms, the motivic interconnections across movements, the deeply brooding aspect of the slow movement, the latter movement's continuing into the finale without pause—the symphony moves decisively and assuredly from its ear-catching opening measures for solo trumpet and solo bassoon to the fanfare-propelled, harmonically pungent final measures, all in a sophisticated synthesis that utterly belies the composer’s youth.

Robert Kirzinger (Dzenītis)/Marc Mandel

34 Janis Porietis

Andris Dzenitis¯ “M¯ara,” for symphony orchestra (2018)

ANDRIS DZENI¯TIS was born in Riga, Latvia, on January 23, 1978, and now divides his time between Riga and rural northeast Latvia. His “M¯ara” was commissioned by the Boston Symphony Orchestra and Gewandhausorchester Leipzig at the request of Andris Nelsons, to whom the score is dedicated, to celebrate the historic partnership between the two orchestras initiated in early 2018. The world and country premieres of the piece also anticipate the 100th anniversary of the Republic of Latvia in November 2018. Andris Nelsons and the Gewandhausorchester gave the first performance of “M¯ara” on October 4, 2018, in Leipzig, immediately thereafter taking the piece on tour to Frankfurt, London, Stockholm, Riga and Liepaja in Latvia, and Mannheim and Dortmund, Germany. These are the American premiere performances, and the first by the BSO of any music by Andris Dzenitis.¯

THE SCORE OF “MARA”¯ calls for three flutes (third doubling piccolo), three oboes, three clarinets (third doubling bass clarinet), two bassoons and contrabassoon, four horns, three trumpets, two trombones and bass trombone, tuba, percussion (four players: I. timpani, tam-tam, wind chimes, tambourine; II. crotales, glockenspiel, marimba, tam-tam; III. bass drum, suspended cymbals, temple blocks, whip, tom-toms, tambourine, tubular bells, vibraphone, crotales; IV. snare drum, glockenspiel, vibraphone, bass drum, whip, temple blocks, suspended cymbals), harp, and strings. “M¯ara” is about eighteen minutes long.

Performed to mark the 100th anniversary of Latvian independence and composed at the request of Andris Dzenītis’s compatriot Andris Nelsons, M a¯ r a is a conscientious, detailed musical response to what it means to be Latvian. M a¯ r a is one of two Latvian works being performed here this fall to mark this important milestone in Latvia’s history. (The other was Maija Einfelde’s Lux aeterna, performed here last month by the Tangle- wood Festival Chorus with James Burton conducting.)

Latvians (sometimes called Letts) have a unique language and can readily trace their cultural identity back some five millennia. Through the strength of the language and through ethnic traditions, they have been able to maintain cultural cohesiveness

week 5 program notes 35 Andris Dzenitis¯ on “M¯ara”

The olden times of the Latvian folk in the centuries prior to the advent of Christianity are fraught with mystery. No written records of the archaic Latvian folk wisdom survive, but the holy ritual sites, their position, signs, and symbols speak and tell stories without words. We learn about the ancient daily life, annual customs, history, cosmology, philosophy, and sacred rituals from the verbal tradition: folk songs, proverbs, legends, and fairy-tales surviving since ancient times to the modern day. Latvian jewelry, belts, clothing, crockery, everyday objects, even the façades and roofs of houses are often decorated with the signs of the guardians, protectors, helpers pertaining to different aspects of life, embodiments of the features that a person wants to foster or overcome over the path of life.

The triad is central to the archaic Latvian mythology: the highest, immaterial power, the God, and two of its manifestations in the worldly realm—Laima, who is in charge of a person’s fate and thread of life, and Ma¯ra, the patroness of the entire physical, visible, audible, tangible world, and at the same time its embodiment. Ma¯ra manifests in different ways. We encounter her in every step we take, whenever we see, hear, smell, touch, or feel. She is in charge of birth and death, of the matter and substance of the world, space, both the tangible and the evanescent. Air and water. Dewy meadows and mold. A mystery. The energy that comes into being and leads to its own destruction. The beginning and the end.

In the composition I reflect on the manifestations ofM a¯ r a both in a sacral and mythological, and in a graphic sense: by tracing different meanders and line segments characteristic of M a¯ r a symbolic signs in the facture and sounds, sometimes practically visible in the score, just like the signs that have adorned the Latvian daily life since ancient times. I want to use sound to let the power of Latvian mythological signs reach every corner no matter where the piece will be performed. This is the musical encoding of my personal understanding of what it means to be Latvian. The work is dedicated to my coeval, the great conductor Andris Nelsons, and it is commissioned by the Leipzig Gewandhaus- orchester and Boston Symphony Orchestra.

Andris Dzenītis

36 through centuries of political domination by various other powers, including Sweden and Poland. The region was under Russian rule from 1795 until 1917, when the chaos created by the Bolshevik Revolution triggered Finland, Estonia, Latvia, and Lithuania all to declare independence. Latvia became a political football for Germany and the Soviet Union during World War II, and was made a Soviet Republic in 1944, regaining its independence in 1991 following the fall of the Soviet Union. In 2004 Latvia joined both NATO and the European Union. Lutheranism and its music have blended with Russian orthodox church music to influence the country’s indigenous choral traditions, and its music education system is on par with any in Europe. The national conservatory in Riga, established in 1919, is named for its founder, Ja¯zeps Vītols (1863-1948), a composer and one of the country’s most important musical figures.

Among Andris Dzenītis’s earliest memories are those of his sister playing violin, which he says he can remember “from the moment of my birth.” He began his formal musical training as a pianist from an early age and soon began to study the rudiments of com- posing. His most important early teacher was Pe¯teris Vasks (b.1946), a world-renowned figure in contemporary music, with whom he studied at the Emīls Da¯rzi¸nš Music School, the preparatory school for the Ja¯zeps Vītols Latvian Academy of Music. In his university years he studied with Kurt Schwertsik at the Vienna University of Music and Theatre, with Pe¯teris Plakidis at the Latvian Academy, and with Osvaldas Balakauskas at the Lithuanian Academy of Music, where he received his master’s degree. He has also par- ticipated in master classes with such composers as Magnus Lindberg, Bent Sørensen, and Pär Lindgren. Dzenītis has himself taught at several Latvian schools, as well as doing such other work as program administration for Latvian Radio and writing about music for journals and newspapers.

THE MA¯RA SYMBOLISM IN LATVIAN MYTHOLOGY Ma¯ra Cross, or The Cross of Crosses. The border between our world and the afterworld, the realm of stillness.

Diagonal Ma¯ra Cross—a symbol of life, flourishing, creativity, anticipation, birth, hope.

Line—the symbol of Mother Earth.

Another manifestation of Mother Earth. Combined with an upward pointing triangle forms a cosmic model of our universe—the combination of the material and the spiritual and the fate (Goddess Laima)

Zalktis (Grass snake). Wisdom, folk magic. The Zalktis brings luck and is the embodiment of Ma¯ra. Promotes fertility, also a connection with the netherworld.

M a¯ r a Wave, the manifestation of M a¯ r a in water and the sea. A symbol of the flow and transformation of everything in existence.

week 5 program notes 37 Featuring a kaleidoscopic array of artists from the worlds of classical music, film, and Broadway, the gala 2018 Bernstein Centennial Celebration at Tanglewood encompasses selections from such brilliant Bernstein works as Candide, West Side Story, and his Serenade for violin and orchestra; a new work by John Williams written especially for the occasion, and music by Copland and Mahler particularly dear to Bernstein’s heart, closing with the stirring finale of Mahler’s Resurrection Symphony. Available for pre-sale now with a November 16 release date. DVD $29.99 and Blu-Ray $41.99 · 617-638-9412 · bso.org Gert Mothes

Andris Dzenītis and Andris Nelsons with the Gewandhausorchester Leipzig following the second performance, on October 5, 2018, of Dzenītis’s “Ma¯ra”

Dzenītis’s music has been performed worldwide at such events as the International Society of Contemporary Music World Music Days in Hong Kong and the Venice Biennale, both in 2007, at the Baltic Breezes Over Malaysia festival in 1996 (when he was still a teenager), and at festivals including Warsaw Autumn, Gogolfest in the Ukraine, and various others throughout Europe. In addition to the Gewandhausorchester Leipzig, performers have included the Latvian National Symphony Orchestra, Netherlands Radio Philharmonic, Belgian National Symphony Orchestra, German Radio Philharmonic Saarbrücken-Kaiserslautern, the Berlin Radio Symphony Orchestra, Ensemble Modern, Orquesta Filarmonica de Gran Canaria, the Latvian Radio Choir, and many others. M a¯ r a is the first of his orchestral works to be performed in the U.S.

Dzenītis is a prolific composer; prior to M a¯ r a are some two dozen orchestral pieces, including concertos for cello, clarinet, piano, horn, and saxophone plus a number of purely symphonic works. His chamber music catalog is equally expansive, encompass- ing solo works, three string quartets, and several large chamber-ensemble pieces, such as his Latvian Cookbook, composed for the important Germany-based group Ensemble Modern. Although not himself a trained singer, he has—being Latvian and in the midst of its ubiquitous choral tradition—written many works for chorus and for solo voice, among them two operas: the chamber opera Books of Silence, based on a text by Oscar Milosz, and the full-scale two-act opera Dauka, which was premiered to open the Latvian National Opera season in September 2012. Dauka is one of several Dzenītis works to be nominated for Latvia’s highest musical honor, the Great Music Prize, which he won twice, for his chorus and orchestra piece Fides.Spes.Caritas and for his saxophone concerto E(GO).

In parallel with his classical training, Dzenītis has also endeavored to explore other genres of music, including pop, jazz, and “non-commercial” electronic music—which is to say, not dance music. His Woodpecker Project, which originally involved electronics with instruments and voice, was a way of re-entering the performance realm. This is

week 5 program notes 39 Knowledge shouldn’t have a character limit.

wgbhnews.org something that composers who don’t perform as part of their careers are frequently compelled to do, to experience the tactility of sound and alleviate the isolation and abstraction of writing notes on a page (whether paper or electronic). Recently Dzenītis has planned a new version of the project with only “live” musicians—guitars, saxophones, electronic keyboards, percussion. Another important aspect of his career has been his work in film, most recently the feature filmsExiled (2015), directed by Davis Simanis, Jr., and Aik Karapetian’s psychological thriller Firstborn (2017).

Apart from his Latvian Cookbook, which “expressed...the topic of Latvian identity through recipes,” Dzenītis’s M a¯ r a is his most thoroughgoing musical exploration of being Latvian, as is fitting for a work written in part to celebrate the centenary of the Republic. As the composer details in his own note on the piece (see page 36), he based its content on ancient Latvian mythology, incorporating musical “translations” (not in every case a straightforward proposal) of rune-like graphic symbols (see page 37). The energy and mystery of these ideas and their musical manifestation has something in common with the modernist-archaic power of Stravinsky’s Rite of Spring, especially in M a¯ r a ’s unique harmonic language and the detailed intricacy of Dzenītis’s orchestral writing.

M a¯ r a is musically “about” gestures, complex sonic objects presented almost like episodes in an architectural frieze retelling some epic event. The first of these is a burst of sound preceding a sustained, fading, and subtly colored harmony. The basic event occurs several times, evolving and growing in intensity, invigorated by percussion patterns and changes in instrumentation. This gives way to a passage characterized by woodwinds repeating pitches in stuttering rhythms. A perpetual motion pattern appearing first in strings, then shared among the three flutes, is overwhelmed by a surge of fragmented orchestral melody. Upper strings instigate a pulsed ostinato, over which several other layers of activity occur at various speeds—slow melodic figures in brass and lower strings, flickering scales in high woodwinds. This grows to a sustained, shining climax, which subsides and rebuilds to a surge of sound. A long coda begins as a detailed mosaic, flashes of winds or percussion over sustained string harmonies. From this emerges a clarinet solo, first standard B-flat, then B-flat bass clarinet, in a remarkable closing soliloquy that eventually bursts like a bubble.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

week 5 program notes 41

Dmitri Shostakovich Symphony No. 1 in F minor, Opus 10

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. He began the composition of his Symphony No. 1 in September 1924, completing it on July 1, 1925—this according to the composer himself, though other sources cite a completion date of December 1925. Dedicated by Shostakovich to his friend Mikhail Vladimirovich Kvadri, the work was written as a graduation exercise for Maximilian Stein- berg’s composition course at the Leningrad Conservatory. Nikolai Malko conducted the premiere on May 12, 1926, with the Symphony Orchestra of the Leningrad Philharmonic, in the Great Hall of the Leningrad Philharmonic.

THE SCORE OF SHOSTAKOVICH’S SYMPHONY NO. 1 calls for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, tromba contralta, three trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, tam-tam, chimes, piano, and strings. (The tromba contralta has been described as a “valved trombone in trumpet form...sounding an octave below the natural trumpet in F...devised and first introduced by Rimsky-Korsakov.”) The pianist in these performances is Vytas Baksys.

Few teenagers write symphonies. Even fewer write symphonies that immediately enter the standard repertoire. But that’s what Dmitri Shostakovich did, at the tender age of nineteen. The triumphant Leningrad premiere of his manic, daring Symphony No. 1 on May 12, 1926, established him as a major new talent, nothing less than the great white hope of Soviet music—then in its infancy. After deafening waves of applause from the packed hall, the orchestra repeated the second movement as an encore. The Communist Party newspaper Leningrad Pravda called the symphony “a joyful surprise,” and the conductor Malko (Shostakovich’s conducting professor at Leningrad Conservatory) wrote in his diary: “I feel as though we have started a new page in the history of symphonic music.” When composer Alban Berg heard the first Viennese performance soon afterwards, he wrote Shostakovich a fan letter: “Dear Mr. Shostakovich, hearing your symphony gave me immense delight. It was amazing, especially the first movement! It sounded quite splendid, and I offer you my sincerest congratulations. Yours, Berg.”

week 5 program notes 43 Program page for the first Boston Symphony performance of Shostakovich’s Symphony No. 1 on November 7, 1935, in Cambridge, with Richard Burgin conducting (BSO Archives)

44 For Shostakovich, a sickly pianist who had initially been denied admission to the composition course at the Conservatory, the symphony’s unprecedented success came as a godsend. It restored his confidence, and gave him and his struggling family hope for the future in what were very difficult times following the 1917 Bolshevik Revolution and the death of Shostakovich’s father. “My symphony went splendidly yesterday,” he wrote to a friend, continuing: You could feel the contact between the author, conductor, orchestra, and audience. The audience applauded a lot, and I took five bows. There was a real spirit of elan. So now my head is just spinning; from the symphony, and from the performance (Malko conducted magnificently), and the success, and from all of it together. It was fantastic. Words cannot express just how fantastic. Shostakovich considered the premiere of the First Symphony such a watershed moment in his personal and creative life that every year afterward until his death, he celebrated May 12 with close friends as a “personal holiday.”

By the time he started writing the First Symphony, Shostakovich had not produced much that foreshadowed his ability to create such a mature and sophisticated work: a few piano pieces, a piano trio, and three pieces for orchestra, two of them scherzos. His lifelong fondness for galops and scherzos developed early, perhaps stimulated by his work providing piano accompaniment for silent movies—full of antic chase scenes—at the Piccadilly Theater in Leningrad. It isn’t surprising, then, that Shostakovich began with the bubbly second movement scherzo when he set to work in the autumn of 1924. By mid-December he had completed the first three movements, writing to his fellow pianist Lev Oborin, “In general I am satisfied with the symphony. Notbad. A symphony like a symphony should be, although perhaps it would be better to call it a symphony-grotesque.” The final movement gave Shostakovich the most trouble. Several months went by before he was in “the right mood,” but once he got down to work, he tossed off the finale, by turns rousing and tragic, in a week in late April.

Around the time of the premiere, Shostakovich wrote the following description of the symphony, stressing its impetuosity and eclecticism. The first movement begins with a short introduction, then transitions into the main theme, in the character of a humorous march; then follows the second theme in waltz form. The music of the introduction reappears at the end. Composed in sonata form, the second movement (scherzo) has two themes: 1) a main one, impetuous and highly rhythmic and 2) a secondary, contrasting one over a continuous accompaniment of tremolo strings. The third movement (Andante) develops a three-part structure based on two contrasting themes (a lyrical and contemplative one, and a solemn, funereal one). The fourth movement follows without pause. A slow introduction leads into the impetuous, fast main theme. The second theme is calm and transparent. Constructed on a slow version of the main theme, the conclusion unfolds in lucid instrumentation.

What Shostakovich’s modest description fails to convey, however, is the symphony’s sheer theatrical bravado, its high jinks, wit, and arresting mood changes. Juggling dif-

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46 Nikolai Malko (1883-1961), who conducted the 1926 premiere of Shostakovich’s Symphony No. 1 with the Leningrad Philharmonic

ferent genres (galop, waltz, funeral march, brass fanfares, folk song, puppet show) with disarming ease, this youthful, ebullient work startles by its ability to retain formal and thematic unity amidst such a wealth of disparate materials.

The first movement opens with a jocular phrase played by muted solo trumpet, then answered by solo bassoon; together they sound like the prelude to a puppet show and bear a strong resemblance to moments from Stravinsky’s ballet Petrushka. This figure returns at strategic moments throughout the movement, as if calling us back to attention. The main theme that follows, a march, propels us into a world of fantastic satire, set in the tonic key of F minor. For the second theme in the sonata-form structure, Shostakovich offers a languid, delicate waltz, a ballerina dancing on a music box. At the climax of the development section, the two themes merge to create an unexpected sonic impression of threatening force. Here Shostakovich already displays the amazing gift for transforming thematic material that would become one of the most notable features of his later symphonies.

In the fast second movement, Shostakovich again contrasts two equally brilliant themes: a frantic, grotesque galop and a folksy, stately lullaby. In the galop, the piano makes a dramatic entrance, tossing off cascading scales that evoke the world of the circus or dance hall. After the two themes unite in ecstatic counterpoint, the movement ends with a short final section (codetta) that contains another eccentric surprise. The piano strikes three hammer-like chords in A minor, the two themes return for a curtain call, and the snare drum quietly ends the show.

Some critics see the influence of Alexander Scriabin in the meditative, lyrical third movement, so different in character from the symphony’s other three. But here, too, the composer’s sense of drama, his shrewd use of solo passages (from the strings, especially), and repetition of key motifs cast a powerful spell, by turns intimate and

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48 public. Introduced by the plaintive oboe, the main theme, tragic and pathetic, yields to a funeral march that some writers (without clear proof) have claimed was intended as a tribute to the death of Vladimir Ilych Lenin in 1924.

In the Lento’s final measures, the snare drum rumbles quietly—and then rises to full volume in the opening measures of the finale, which follows without a break. By turns tempestuous and contemplative, the last movement unfolds as a titanic struggle between the forces of darkness (motifs of fate in the timpani, soulful passages for solo cello) and light (trumpet calls, the piano’s bright voice). An obsessively repeated three- note motif, first ascending and then descending, fluctuates and transforms itself, rising from doubt into the triumphant conclusion, where F minor finally yields (after a stub- born struggle) to F major in a decisive affirmation of optimism and faith in the future— of both the composer and his turbulent world.

Shostakovich dedicated his Symphony No. 1 to his Moscow composer friend Mikhail Vladimirovich Kvadri (1897-1929). But soon after Josef Stalin gained supreme power in the USSR in 1928, Kvadri was arrested and executed for unspecified political crimes.”“ Most subsequent Soviet printings of the score removed the dedication to this “enemy of the people”—a harbinger of things to come.

Harlow Robinson harlow robinson is an author, lecturer, and Matthews Distinguished University Professor Emeritus of History at Northeastern University. The author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians,” he is a frequent annotator and lecturer for the Boston Symphony Orchestra, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival.

THE AMERICAN PREMIERE OF SHOSTAKOVICH’S SYMPHONY NO. 1 took place in Philadelphia on November 2, 1928, with Leopold Stokowski conducting the Philadelphia Orchestra.

THE FIRST BSO PERFORMANCES OF SHOSTAKOVICH’S SYMPHONY NO. 1 were led by Richard Burgin in Cambridge, then Boston, in November 1935, subsequent BSO performances being led by Burgin, Nikolai Malko (who had conducted the 1926 premiere in Leningrad, and led it here in January 1940), Serge Koussevitzky, Burgin, Erich Leinsdorf, Karel Anˇcerl, Sergiu Comissiona, Kurt Masur, Catherine Comet, Stanislaw Skrowaczewski, Masur again (the most recent subscription performances, in November/December 2003), and Ingo Metzmacher (the BSO’s most recent performance until this week, at Tanglewood on July 11, 2004).

week 5 program notes 49 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Pyotr Ilyich Tchaikovsky “The Nutcracker,” Opus 71: Act II

PYOTR ILYICH TCHAIKOVSKY was born at Kamsko-Votkinsk, Vyatka Province, Russia, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He composed the ballet “Shchelkunchik” (“The Nutcracker”) between February 1891 and April 4, 1892, to a scenario by Marius Petipa after Alexandre Dumas’s version of E.T.A. Hoffmann’s story “The Nutcracker and the Mouse King.” The first performance (concluding a double bill that opened with the premiere of Tchaikovsky’s short opera “Yolanta”) took place on December 18, 1892, at the Mariinsky Theater in St. Petersburg, with choreography by Lev Ivanov.

THE SCORE OF “THE NUTCRACKER” calls for three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, tambourine, glockenspiel, castanets, triangle, celesta, two harps, and strings. In these performances, the celesta is played by Vytas Baksys.

Tchaikovsky’s works are among the imperishable classics of the ballet repertory. In his own lifetime, though, his success as a ballet composer was distinctly limited, though this did not dissuade him from trying again. At the time Tchaikovsky began writing for the dance, the term “ballet music” was often used in a pejorative sense, since most composers of ballet music officially connected to ballet companies were virtually required to be musical non-entities, churning out yards of tinkly, rhythmic, square, undistinguished stuff for the dancing masters to decorate with movement. Composers who attempted to do something more substantial in their ballet scores—like Delibes in Sylvia—were criticized for being “too symphonic.” Tchaikovsky loved the ballet music of Delibes (1836-1891), finding it a strong encouragement to his own ballets, in which he created a full-scale dance-drama combining solos, ensembles, dramatic (danced) narrative, and set pieces such as characteristic dances, all in a cohesive structure. As a result, every one of his major ballets—Swan Lake (1875-76), Sleeping Beauty (1888-89), and The Nutcracker (1891-92)—was either an outright failure or, at best, a limited success in its first production. He did not live to see even the beginnings of their worldwide success.

week 5 program notes 51 Program page for the first Boston Symphony performance of music from Tchaikovsky’s “The Nutcracker” on December 13, 1908, in a Pension Fund concert led by Max Fiedler (BSO Archives)

52 Tchaikovsky himself regarded The Nutcracker as less significant than his two earlier ballets, largely because the scenario foisted on him lacked the kind of consistent dramatic story line he preferred. The basic plot came from E.T.A. Hoffmann, whose sometimes macabre tales could be expected to provide exactly the proper grist for Tchaikovsky’s mill. But in the scenario proposed by the choreographer Petipa, the plot was drastically simplified, confining the real story (with its “symphonic” music) to Act I. From a theatrical point of view, Act II is anti-climactic—though it is just the opposite in a concert performance, where the attention is on the music alone.

The first act, set in a German home on Christmas Eve, is a charming fantasy of a Christmas present—a toy nutcracker—that comes to life and leads the other toys in battle against the Mouse King and his army. When Clara, to whom the Nutcracker has been given, saves the Nutcracker’s life in the climactic battle by throwing her slipper at the Mouse King and killing him, the grotesque Nutcracker turns into a handsome prince and takes Clara on a journey to his magical kingdom, “Confiturenbourg” (what we might call the Big Rock Candy Mountain!). The entire second act is devoted to divertissements, dances introducing the inhabitants of this land. Since there is no more plot (though some modern productions attempt to create further story lines), everyone can just sit back and enjoy the dancing and the music, which in and of itself is a sheer delight: Tchaikovsky’s gift in the composition of colorful characteristic dances for such scenes remains unsur- passed. Indeed, it is precisely these dances that quickly became the most popular part of the score, in the form of a concert suite that had its first performance even before the ballet itself.

Though Petipa had created the scenario and planned to choreograph the ballet, he became ill (he was in his seventies) and had to withdraw; the task fell to his assistant, Lev Ivanov, who had already distinguished himself in the two lakeside scenes (Acts II and IV) of Swan Lake. The mounting was lavish in the extreme both for The Nutcracker and the short opera Yolanta that was premiered at the head of the evening’s program. Tchaikovsky wrote to his brother Anatoly, “The staging of both [opera and ballet] was splendid, but that of the ballet even too splendid—one’s eyes grew tired of this luxu- riance.” The critics were divided. The St. Petersburg Gazette declared, “A more tedious work was never seen.” But the St. Petersburg News-Sheet proclaimed, “Concerning the music...it is hard to say which number is best, for everything from beginning to end is beautiful, melodious, original, and individual.”

The present performances include all of Act II, i.e., most of the music familiar as the “Nutcracker Suite” (minus the overture) plus the numbers normally heard only in the theater. The curtain rises to show the palace of The Kingdom of Sweets (No. 10, Scene, Andante). A lulling 6/8 theme decorated by swirling harps and later by flute and clarinet scales hints at the elegance of the palace. Soon the Sugar-Plum Fairy appears to welcome the travelers to the delights of her kingdom. Tchaikovsky, while on a visit to Paris, had heard a recently invented keyboard instrument called the “celesta” (for its “heavenly” sound); he knew that it was exactly what he wanted to characterize the delicate other-

week 5 program notes 53

Stanislava Belinskaya as Clara and students of the Imperial Ballet School as mice in the original 1892 production of “The Nutcracker”

worldliness of the fairy, and had an instrument secretly shipped to him in Russia, so he might be the first composer to use the new effect. The audience was surely enchanted when the Sugar-Plum Fairy appeared with her suite, accompanied by the shimmering sound of celesta, two harps, and upper strings in harmonics. This music is unthinkable today without the sound of the celesta, but when Tchaikovsky published the score, he allowed for optional substitution of piano, since the newly developed instrument might not be available in some theaters. But he also added an admonition: “The artist who performs this part must be a good pianist.”

No. 11 (Scene, Andante con moto) depicts the reception of the travelers. Clara and the Prince are welcomed by the Fairy, the prince’s sister. Celesta and harp combine with fluttertongued flutes (another new technique; Tchaikovsky added a footnote to the score to explain how the flutists were to produce the effect) and a sinuous clarinet. In a faster tempo (Moderato), twelve pages lead Clara and the Prince forward to tell their tale. In an Allegro agitato (developed from themes first heard in Act I), the Prince mimes the story of his fight with the Mouse King and reveals how Clara saved his life. In stately grandeur the court hails Clara for her bravery (full orchestra). At a sign from the Fairy (oboes and clarinets, then horns and trombones added) a festive table is prepared, and the guests are entertained with a divertissement.

No. 12, the Divertissement, is built up of a series of short and very diverse characteristic dances representing particular goodies from the Kingdom of Sweets or episodes from familiar fairy tales. Petipa’s scenario not only described the character of each dance, but also its length and meter. Tchaikovsky followed his prescriptions quite closely, finding the discipline a stimulation to his powers of invention, which he feared were on the wane.

First comes No. 12a, “Chocolate,” a Spanish dance featuring a difficult trumpet solo and the sound of castanets. For No. 12b, “Coffee,” an Arabian dance, Tchaikovsky borrowed

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56 Sketch by designer Konstantin Ivanov (1859-1916) for the set of “The Nutcracker,” Act II

a Georgian folk lullaby from a collection of Ippolitov-Ivanov and arranged it in a brilliantly simple but evocative way with a drone ostinato in violas and cellos and just a hint of tambourine. “Tea” is represented by a Chinese dance (No. 12c) with brilliantly skirling flute and piccolo over staccato bassoons and plucked strings. It is cut short suddenly, making way for the vigorous Russian dance, “Trepak” (No. 12d), based on a traditional Russian melodic formula (the same figure appears in the finale of his Violin Concerto) that grows in energy and drive to its Prestissimo conclusion. No. 12e, the “Dance of the Mirlitons” (reed pipes), is gently pastoral rather than the “Tempo di polacca” that Petipa requested; the emphasis on woodwinds (especially flutes) in the outer sections is balanced by the brass interlude in the middle. “The Old Woman Who Lived in a Shoe and her Children” (No. 12f) is derived from a traditional French fairy tale; Tchaikovsky quotes old French tunes probably learned from his much-loved French governess and found in a collection of French children’s songs in the composer’s library. The tune heard at the outset (oboes, clarinets, and bassoons) is “Que t’as de belles filles, Girofle, girofla!” A contrasting 6/8 tune is “Cadet Rousselle.” This is followed by a return to “Que t’as de belles filles” worked up in a faster tempo to bring the Divertissement to an end.

The next number, the Waltz of the Flowers (No. 13), is among the greatest of all symphonic waltzes, and a thorough contradiction to Tchaikovsky’s fears of failing inventive powers. Its evocative opening presents a hint of melody taken up by the horns as the first tune of the waltz proper. And though it passes in an instant, what a magical touch the diminished-seventh harmony on the fourth note of the tune is, coming unexpectedly after a straightforward melodic arpeggio of the D major triad. An answering melody is divided between strings on the one hand, flutes and clarinets on the other. Still more tunes follow, varying in range, instrumentation, and phrasing, so that the waltz seems to build and build with its characteristic “lift” to the final coda.

Balletomanes expect a pas de deux between the principal male and female dancer. From the plot of The Nutcracker, we would expect such a dance to take place between Clara

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The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal veriﬁ cation. Real estate agents afﬁ liated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2018 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 449302NE_8/18 and the Prince. But the original Clara was only twelve years old and scarcely ready for such a demanding dance, so the duet (No. 14, Pas de deux) was given instead to the Prince and the Sugar-Plum Fairy. Soon after the original production, though, when the part of Clara began to be taken by more mature dancers, the opening section—built on a descending scale melody in the cello that builds to a surprisingly passionate climax— was given to her. Variation I is a vigorous tarantella for the male dancer. Variation II is for the female dancer, who must be the Sugar-Plum Fairy regardless of whether Clara dances the beginning of this number: it is this movement that more than any other established the celesta as an instrument in the orchestra and still represents its most familiar use. The delicacy of the celesta’s sound perfectly matches the sweetness of this personification of the Kingdom of Sweets. Thepas de deux closes with a lively coda, after which the entire Court joins in a final tribute to Clara (No. 15,Final Waltz and Apotheosis), which efficiently and expertly recycles themes from the opening of Act II in newly rich scoring.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF MUSIC FROM “THE NUTCRACKER” was of the “Nutcracker” Suite, in a Pension Fund concert led by Max Fiedler on December 13, 1908 (see page 52), followed by subscription performances of the suite on December 24 and 26, after which he led the suite on numerous occasions both in and out of town between March 1909 and April 1912. Later BSO performances of the suite, or excerpts therefrom, were led by Ernst Schmidt, Pierre Monteux, Richard Burgin, Michael Press, Serge Koussevitzky, Danny Kaye, and Eugene Ormandy. Seiji Ozawa led BSO performances of the complete score in December 1990 (at which time it was also recorded for Deutsche Grammophon), and then a single performance in December 1996, followed the next night by one in Washington, D.C. The entire Act II has been played by the orchestra on three other occasions—under Carl St. Clair (substituting for Gennady Rozhdestvensky in August 1986 at Tangle- wood); Ozawa (at Carnegie Hall in December 1996, in a private concert for the permanent Japanese Mission to the United Nations in 1986), and Robert Spano (at Tanglewood in August 2004, in that summer’s Serge and Olga Koussevitzky Memorial Concert).

week 5 program notes 59

To Read and Hear More...

Andris Dzenītis’s own website, dzenitis.webs.com, is the most useful and current source of information about the composer and his work. A number of SoundCloud and YouTube links on his site offer a chance to hear a range of Dzenītis’s pieces for various ensembles. The Musica Baltica website (musicabaltica.com), a clearinghouse for information about Latvian composers, includes much the same information. M a¯ r a has not yet been recorded for release, but several Dzenītis works are available via download or on CD. The 2015 album “E(GO),” is named for his saxophone concerto and features five of the composer’s works, including three with orchestra (Skani). Ensemble Modern with conductor Peter Eötvös recorded his Latvian Cookbook (Ensemble Modern Medien). His works have also appeared on several different releases by the Latvian Radio Choir (on the choir’s own label) and Latvian Radio Chamber Singers (Latvian Music Information Centre).

Robert Kirzinger

Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shostakovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things, the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kingsley as Shostakovich. English writer Julian Barnes’s recent novel, The Noise of Time, uses three crucial moments in Shostakovich’s life to address matters of life, art, society, and political oppression (Knopf). An older but still important biography of the composer, written during his lifetime, is Dmitri Rabinovich’s Dmitri Shostakovich, published in a 1959 English translation by George Hanna (Foreign Languages Publishing House). Also still useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press). David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (University of Washington paper-

week 5 read and hear more 61 November 17, 8pm November 18, 3pm First Baptist Church 848 Beacon Street, Newton Centre

PROGRAM: Beethoven, Leonore Overture No. 3 Shostakovich, Cello Concerto No. 1 Lev Mamuya, cello soloist Strauss, Der Rosenkavalier Suite

newphil.org | 617-527-9717

New Philharmonia Orchestra is a member of the Newton Cultural Alliance. newtonculture.org

62 back). Michael Steinberg’s program note on Shostakovich’s Symphony No. 1 is in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

Shostakovich’s Symphony No. 1 is being recorded live during these concerts for future release on Deutsche Grammophon as part of the ongoing Andris Nelsons/BSO Shosta- kovich symphony cycle on that label. A September 1964 BSO broadcast under Erich Leinsdorf was included in the BSO’s twelve-disc box set, “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available from the bso.org Media Center or at the Symphony Shop). Other currently available recordings include Leonard Bernstein’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Valery Gergiev’s live with the Mariinsky Orchestra (Mariinsky), Bernard Haitink’s with the London Philharmonic (Decca), Mariss Jansons’s with the Berlin Philharmonic (Warner Classics), Vladimir Jurowski’s with the Russian National Orchestra (Pentatone), Vasily Petrenko’s with the Royal Liverpool Philharmonic (Naxos), and that of the composer’s son, Maxim Shostakovich, with the Prague Symphony Orchestra (Supraphon).

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer (Norton); The Nutcracker is discussed in the fourth volume, “The Final Years, 1885- 1893.” Brown is also the author of Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books), and of Tchaikovsky Remembered, published in 1994 to mark the centenary of the composer’s death (Amadeus Press). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and for its wealth of illustrations (Scribners). Also useful are Alexandra Orlova’s Tchaikovsky: A Self-Portrait (translated by R.M. Davison), an “autobiographical narrative” based on surviving documentation (Oxford), and David Brown’s chapter “Russia Before the Revolution” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Valuable if you can find it isThe Diaries of Tchaikovsky, translated and edited by Wladimir Lakond (Norton, out of print).

Seiji Ozawa and the Boston Symphony Orchestra recorded the complete score of The Nutcracker in 1990 (Deutsche Grammophon). Other complete recordings include Antal Doráti’s with the Concertgebouw Orchestra of Amsterdam (Philips), Charles Dutoit’s with the Montreal Symphony Orchestra (Decca), Valery Gergiev’s with the Mariinsky Orchestra (Mariinsky), André Previn’s with the London Symphony Orchestra (Warner Classics), and Simon Rattle’s with the Berlin Philharmonic (Warner Classics). There are of course a great many recordings of the popular Nutcracker Suite. Tchaikovsky’s “Waltz of the Flowers” was recorded in one of the BSO’s very first recording sessions, in Octo- ber 1917 with Karl Muck conducting, but was only released for the first time on the 1995 BSO Classics CD “The First Recordings of the Boston Symphony Orchestra,” along with Muck’s other recordings from those sessions and Koussevitzky’s from his first BSO sessions in November 1928.

Marc Mandel

week 5 read and hear more 63 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

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Senior Living. Exceptional Assisted Living Steps from Symphony Hall Perfectly Orchestrated.

● Chef-Prepared Meals ● Spacious Modern Apartments ● Medication Monitoring ● Regular Berklee College & NE Conservatory Performances

Call Doug Warren Susan Bailis 617-247-1010 Personalized Assisted Living or stop in for a Private Tour 352 Massachusetts Ave, Boston SusanBailisAL.com The Great Benefactors

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

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

66 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased

week 5 the great benefactors 67 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to support ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2017-18 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne ‡ Brooke • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • National Endowment for the Arts • The Perles Family Foundation • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Anonymous (2)

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 16, 2018. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2)

week 5 the maestro circle 69 At Brookhaven, lifecare living is as good as it looks. Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community.

CAMPUS EXPANSION CALL TODAY FOR INFORMATION! 49 NEW APARTMENTS 781.863.9660 • 800.283.1114 www.brookhavenatlexington.org

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St. Mark’s School INTENTIONALLY SMALL, THINKING BIG.

A coeducational boarding and day high school preparing young people for lives of leadership and service.

70 encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Michelle and Mark Jung • Meg and Joseph Koerner • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Robert and Roberta Winters • Anonymous (5) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Liliana and Hillel Bachrach • Judith and Harry ‡ Barr • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Diddy and John Cullinane • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Bob and Happy Doran • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Albert A. Holman III and Susan P. Stickells • Alice Honner-White and Pieter C. White • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Steve Kidder and Judy Malone • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Anonymous sponsor $6,000 - $11,999 Ms. Deborah L. Allinson • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III •

week 5 the higginson society 71 72 Lucille Batal • Jim and Nancy Bildner • Peter Blau and Cristina Coletta Blau • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Mr. and Mrs. Miceal Chamberlain, Jr. • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Robert and Sara Danziger • Deborah B. Davis • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Marjorie and Nicholas Greville • Carol and Robert Henderson • Rebecca Henderson and James Morone • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mary and Harry Hintlian • Patricia and Galen Ho • Dr. Susan Hockfield and Dr. Thomas Byrne • Ms. Emily C. Hood • G. Lee and Diana Y. Humphrey • Mr. ‡ and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Henry Lee • Rosemarie and Alexander Levine • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Ann Merrifield and Wayne Davis • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Cecilia O’Keefe • John O’Leary • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • John Lowell Thorndike • Magdalena Tosteson • Polly J. Townsend • John Travis • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8)

week 5 the higginson society 73 a simple and powerful gift to the bso

A bequest is a gift that anyone can make to support the BSO.

“By giving to the Symphony, I feel as if I am a part of it. And that’s rewarding. I know that I’ve done my little ounce to make sure that this continues.”

—Eileen Walker, Walter Piston Society member Bequest donor

One of the simplest ways to support the BSO, a bequest is a donation of cash or other property made through your estate plans. It is a flexible gift that anyone can make regardless of income level, and it helps ensure the future of the BSO.

For more information, including a confidential customized example, please contact: Jill Ng, Director of Planned Giving and Senior Major Gifts Officer 617-638-9274 [email protected]. or visit us at bso.org/plannedgiving The Walter Piston Society

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have established one or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts include bequest intentions (through one’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities.

If you would like information about how to include the BSO in your gift plans, or if you find that your name is not included with other Walter Piston Society members and should be, please contact Jill Ng, Director of Planned Giving and Senior Major Gifts Officer, at (617) 638-9274 or [email protected]. ‡ This symbol denotes a deceased donor.

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week 5 the walter piston society 75 Your Relaxing Companion

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week 5 the walter piston society 77 9,977 GOT BACK IN THE GAME

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week 5 the walter piston society 79 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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GOURMETCATERERS.COM/BSO • BSO.ORG Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Steward Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, Director of Boston Pops Sales and Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services • Thomas Vigna, Group Sales and Marketing Associate business office

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Individual Giving Advisor • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Assistant Manager, Annual Funds Friends Program • Michelle Houle, Major Gifts Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Associate • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Leslie Wu Foley, Interim Director of Education and Community Engagement Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 5 administration 83 ONE PERFORMANCE ONLY Sunday, January 27, 2019 at 3pm Sanders Theatre at Harvard University

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84 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 5 administration 85 share our legacy NEC invites you to join us in celebrating the 100th birthday of Leonard Bernstein — Boston native, NEC Prep alumnus, and one of America’s greatest 20th-century composers, conductors, and educators. necmusic.edu/bernstein

Photo: Leonard Bernstein, c. 1960, courtesy of the Leonard Bernstein Office, Inc.

2018–2019 season andris nelsons music director

purchase a college card for $25 and attend most BSO concerts for no additional cost. College ID required. Follow us on Twitter, Facebook, Instagram, and YouTube, or download the new BSO app.

bso.org/collegecard

617-266-1200 college card sponsor Season Sponsors

86 Boston Symphony Association of Volunteers executive committee Chair, Gerald L. Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

week 5 administration 87 Next Program…

Thursday, November 15, 10:30am (Open Rehearsal; Pre-Rehearsal Talk at 9:30am in Symphony Hall) Thursday, November 15, 8pm Friday, November 16, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 17, 8pm

andris nelsons conducting

hk gruber “aerial,” concerto for trumpet and orchestra Done with the compass—Done with the chart! Gone dancing håkan hardenberger

{intermission}

mahler symphony no. 5 Part I Funeral March: At a measured pace. Strict. Like a cortège Stormy, with utmost vehemence

Part II Scherzo: Energetic, not too fast

Part III Adagietto: Very slow Rondo-Finale: Allegro giocoso. Lively

Swedish trumpeter Håkan Hardenberger, a longtime collaborator of Andris Nelsons, returns to Symphony Hall as soloist in a concerto composed for him in 1999, the Viennese composer HK Gruber’s Aerial. Featuring piccolo trumpet and cow’s horn as well as standard trumpet, the concerto makes full use of Hardenberger’s considerable virtuosity and expressive range. Mahler composed his Fifth Symphony in 1901-02. His first completely instrumental symphony since No. 1, it marked a new, highly individual, and influential approach to writing for orchestra that would carry through the remainder of Mahler’s symphonies. The Fifth includes the famous and moving Adagietto movement for strings and harp.

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

Thursday, November 15, 10:30am (Open Rehearsal) Thursday ‘D’ November 29, 7:30-10:30 Thursday ‘A’ November 15, 8-10:15 Friday ‘A’ November 30, 1:30-4:30 Friday ‘B’ November 16, 1:30-3:45 Saturday ‘A’ December 1, 7:30-10:30 Saturday ‘B’ November 17, 8-10:15 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor CAROLYN SAMPSON, soprano HA˚ KAN HARDENBERGER, trumpet CHRISTINE RICE, mezzo-soprano HK GRUBER Aerial, Concerto for trumpet SEBASTIAN KOHLHEPP, tenor and orchestra ANDRÈ SCHUEN, baritone MAHLER Symphony No. 5 TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor “Leipzig Week in Boston” Friday ‘B’ November 23, 1:30-2:55 BACH Christmas Oratorio Saturday ‘A’ November 24, 8-9:25 Tuesday ‘B’ November 27, 8-9:25 ALL-BEETHOVEN Symphony No. 4 Thursday ‘B’ January 3, 8-9:45 PROGRAM Symphony No. 5 Friday ‘A’ January 4, 1:30-3:15 Saturday ‘A’ January 5, 8-9:45 MENDELSSOHN- Overture in C HENSEL MENDELSSOHN Piano Concerto No. 1 DVORÁˇ K Symphony No. 8

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 5 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 5 symphony hall information 91 Subscriber 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) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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