bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 5 music director

season sponsors

Table of Contents | Week 5

7 bso news 17 on display in hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 a brief history of the bso 29 a brief history of symphony hall 35 this week’s program

Notes on the Program

36 The Program in Brief… 37 47 55 To Read and Hear More…

Guest Artists

59 61 Rudolf Buchbinder

64 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Marco Borggreve cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

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

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

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 5 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 5 trustees and overseers 5

BSO News

Boston Symphony Chamber Players 2014-15 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 19 with music of J.S. Bach, Nielsen, and Brahms. Complete details of this season’s programs, which span the full spectrum of repertoire and include guest appearances by pianists Emanuel Ax and Jean-Yves Thibaudet, are shown in the display ad on page 11. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, call (617) 266-1200 or visit bso.org.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 returns in 2014-15 to heighten your enjoyment of BSO concerts. Six Wednesday- evening “Are You Listening?” sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra (October 29, November 19, January 14, February 18, March 11, and April 8) are designed to enhance your listening abili- ties and appreciation of music by focusing on upcoming BSO repertoire. The specific musical works to be discussed are posted at bso.org. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, three Tuesday-evening “Insider’s View” sessions with BSO musicians and administrative staff focus on behind-the-scenes activities at Symphony Hall (September 30, January 20, and March 24). By popular demand, two of these sessions—the first and third—will again offer round-table discussions with BSO musicians. All of these sessions take place from 5:30- 6:45 p.m. at Symphony Hall, each being followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. Group rates (for 20 or more people) will apply to both the BSO 101 sessions and the receptions. To reserve your place for the date or dates you’d like to attend, please e-mail [email protected] or call (617) 638-9395.

BSO Community Chamber Concerts For October and November The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. In October and November,

week 5 bso news 7 the BSO hosts Community Chamber Concerts on October 12 at Larcom Theatre in Beverly; on October 19 at the Cambridge Public Library; on October 26 at Medford City Hall; on November 2 in Durgin Concert Hall at UMass Lowell; on November 9 at East Boston High School, and on November 16 at the Motherbrook Community Arts Center in Dedham. Admission is free, but reservations are required; please call 1-888-266-1200.

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on five Friday afternoons during the 2014-15 season: October 17 (string quartets of Nielsen and Schubert), November 14 (a program of Spanish and Latin American music), February 13 (music of Tchaikovsky, Sibelius, Mozart, and Brahms), March 6 (Stravinsky’s L’Histoire du soldat), and March 20 (string quintets of Mozart). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music. individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Season Sponsors Return: engaging programming and a history steeped Bank of America and in powerful performances,” said Bob Gallery, EMC Corporation Bank of America Massachusetts president. “It’s long been a source of pride for the Longstanding major corporate partners Bank Massachusetts arts community, and a driver of America and EMC Corporation return as of local economies from Boston to the the BSO Season Sponsors for the 2014-15 Berkshires.” season. As a company with employees and clients in more than 40 countries around the EMC is a global leader in enabling businesses world, Bank of America is committed to a and service providers to transform their oper- diverse program of cultural support, designed ations and deliver information technology as to engage individuals, organizations, commu- a service (ITaaS). Through innovative products nities, and cultures in creative ways to build and services, EMC accelerates the journey mutual respect and understanding of the arts. to cloud computing, helping IT departments By partnering with our stakeholders, we cre- to store, manage, protect, and analyze their ate shared value that empowers individuals most valuable asset—information—in a more and communities to thrive and contributes to agile, trusted, and cost-efficient way. “As a the long-term success of our business. Bank Great Benefactor, EMC is proud to help pre- of America is one of the world’s leading cor- serve the wonderful musical heritage of the porate supporters of the arts, supporting BSO, so that it may continue to enrich the thousands of arts organizations worldwide. lives of listeners and create a new generation For additional information, please visit of music lovers, not only in Boston, but around museums.bankofamerica.com/arts. “The BSO the world,” said Joe Tucci, Chairman and CEO, attracts visitors from around the world with EMC Corporation.

week 5 bso news 9

The Fairmont Copley Plaza Begins its In Honor of Don Comstock’s 13th Season as the Official Hotel of Birthday From Donna, the BSO Saturday, October 18, 2014 The Fairmont Copley Plaza, the Official Hotel The performance on Saturday evening is sup- of the BSO and Boston Pops, has extended ported by a generous gift from Donna Comstock its unprecedented partnership with the BSO in honor of her husband Don Comstock’s through the 2016-17 season. A BSO Great birthday. The Comstocks are longtime BSO Benefactor, The Fairmont Copley Plaza has patrons who have been subscribing to Sym- been a symbol of the city’s history and ele- phony for twenth-five years. Don and Donna gance since 1912. To celebrate its centennial, also regularly attend Holiday Pops and Spring the landmark hotel completed a $20 million Pops performances at Symphony Hall. The renovation and restoration, including one couple has supported the Symphony Annual of Boston’s hottest restaurant destinations, Fund for many years, and they have made a OAK Long Bar + Kitchen. generous commitment to the BSO’s Beyond Measure Campaign. The Comstocks are “The Fairmont Copley Plaza, together with members of the Higginson Society at the Fairmont Hotels & Resorts, is proud to be the Encore level. Don and Donna have also sup- Official Hotel of the BSO,” said Paul Tormey, ported the Boston Pops Annual Fund and Fairmont’s regional vice-president and general Opening Nights. They served on the benefac- manager. “The BSO is a New England tradition tor committee for Opening Night at Symphony and, like The Fairmont Copley Plaza, a symbol in September 2013. of Boston’s rich tradition and heritage. We look forward to many years of supporting this Don is the founder and chairman of Control- wonderful organization.” Air Inc., a leading manufacturer of pneumatic

week 5 bso news 11 control products, and the retired president, gifts such as bequest intentions (through chief executive officer, and founder of Dia- your will, personal trust, IRA, or insurance Com Corp., a designer and manufacturer of policy), charitable trusts, and gift annuities industrial diaphragms, precision air regulators, can generate significant benefits for you now and electro-pneumatic controls. Earlier in his while enabling you to make a larger gift to the career, Don was president and part-owner of BSO than you may have otherwise thought industrial diaphragm maker BelloFram Corp. possible. In many cases, you could realize A Chicago native, Don attended Purdue Uni- significant tax savings and secure an attrac- versity and earned his B.S. from Northwestern tive income stream for yourself and/or a University. He serves as a trustee of Franklin loved one, all while providing valuable future Pierce University in Rindge, New Hampshire. support for the performances and programs you care about. When you establish and Donna is also a graduate of Northwestern notify us of your planned gift for the Boston University, and earned a degree in theatre Symphony Orchestra, you will become a arts from Emerson College. Donna has a var- member of the Walter Piston Society, joining ied background in the arts, having worked in a group of the BSO’s most loyal supporters television, event planning, and stage work; who are helping to ensure the future of the she previously maintained a business, Ta BSO’s extraordinary performances. Named Dah! Fanfare Productions, in New Hampshire. for Pulitzer Prize-winning composer and Donna is a former board member of Daniel noted musician Walter Piston, who endowed Webster College and Monadnock Music. She the BSO’s principal flute chair with a bequest, has also been involved with the Conservancy members of the Piston Society are recognized of Southwest Florida, Florence Crittenden in several of our publications and offered a League, Newcomers and Questers, and the variety of exclusive benefits, including invita- American Stage Festival. Married for over tions to various events in Boston and at sixty years, the couple has four children, Tanglewood. If you would like more informa- Cheryl, Donald Jr., Virginia, and Scott. tion about planned gift options and how to join the Walter Piston Society, please contact Planned Gifts for the BSO: John MacRae, Director of Principal and Planned Orchestrate Your Legacy Giving, at (617) 638-9268 or [email protected]. We would be delighted to help you orchestrate There are many creative ways that you can your legacy with the BSO. support the BSO over the long term. Planned

week 5 bso news 13

BSO Members in Concert mation table in the Brooke Corridor on the Massachusetts Avenue side of Symphony BSO trumpet and New England Conservatory Hall (orchestra level). There you will find faculty member Benjamin Wright performs the latest performance, membership, and in recital at NEC’s Jordan Hall on Tuesday, Symphony Hall information provided by October 28, at 8 p.m. The program includes knowledgeable members of the Boston Stravinsky’s Fanfare for a New Theatre, Britten’s Symphony Association of Volunteers. The Fanfare for St. Edmundsbury, Altenburg’s BSO Information Table is staffed before each Concerto in D for seven trumpets and timpani, concert and during intermission. Sampson’s Notes from Faraway Places, Hinde- mith’s for trumpet and piano, Saint- Saëns’s Septet in E-flat for piano, trumpet, Those Electronic Devices… , and double bass, Op. 65, and a As the presence of smartphones, tablets, and new work by BSO trumpet player Michael other electronic devices used for communica- Martin. Joining Mr. Wright are BSO colleagues tion, note-taking, and photography continues Rebecca Gitter, viola, and Benjamin Levy, to increase, there have also been increased double bass, as well as Gabriela Diaz and expressions of concern from concertgoers Jennifer Elowitch, violins, Miriam Bolkosky, and musicians who find themselves distracted cellist, Steven Emery, trumpet, and NEC stu- not only by the illuminated screens on these dents. Admission is free. devices, but also by the physical movements The Walden Chamber Players, whose mem- that accompany their use. For this reason, bership includes BSO musicians Tatiana and as a courtesy both to those on stage and Dimitriades and Alexander Velinzon, violins, those around you, we respectfully request and Richard Ranti, bassoon, perform in Wilson that all such electronic devices be turned Chapel at Andover Newton Theological off and kept from view while BSO perform- School, 210 Herrick Road, Newton Centre, on ances are in progress. In addition, please Sunday, November 2, at 4 p.m. The program also keep in mind that taking pictures of the includes music of Jongen, Penderecki, and, orchestra—whether photographs or videos— Mozart. Joining the ensemble for Mozart’s is prohibited during concerts. Thank you very G minor string quintet, K.516, is Christopher much for your cooperation. Rogers-Beadle, winner of the 2014 Young Artist Competition. Tickets are $20 adults, $10 students (free for children under twelve). Comings and Goings... For more information, visit waldenchamber- Please note that latecomers will be seated players.org or call (617) 871-9927 [9WCP]. by the patron service staff during the first convenient pause in the program. In addition, The Information Table: please also note that patrons who leave the Find Out What’s Happening hall during the performance will not be allowed to reenter until the next convenient at the BSO pause in the program, so as not to disturb the Are you interested in upcoming BSO concert performers or other audience members while information? Special events at Symphony the concert is in progress. We thank you for Hall? BSO youth activities? Stop by the infor- your cooperation in this matter.

week 5 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 5 on display 17 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by Richard Strauss, including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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

week 5 andris nelsons 19 Boston Symphony Orchestra 2014–2015

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

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

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

week 5 boston symphony orchestra 21

S Archives BSO

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

A Brief History of the BSO

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert perform- ances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important train- ing grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO con- certs were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

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

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

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

Music Director Laureate. In Archives BSO 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named prin- cipal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir , from 1972 to 1984.

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

S Archives BSO of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he has taken up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra contin- ues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offer- ings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever- changing, 21st-century world.

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A Brief History of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to finance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a perform- ance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the first auditorium designed in accor- dance with scientifically-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better... because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer car- ton” one discovers “the gift within—the lovely ornamented interior, with its delicate play

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

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Architect’s watercolor rendering of Symphony Hall prior to its construction

of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instru- ments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall’s opening, and the 200th anniversary of the death of . The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the firm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the basement. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six- passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu- setts Avenue lobby and box office were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Sofia Gubaidulina, John Harbison, Walter Piston, Sergei Prokofiev, Roger Sessions, , Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto-

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Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s film version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows “dedicated to the working woman” (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the proscenium arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reflect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the first steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renova- tions have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 5 a brief history of symphony hall 33 IN MEMORIAM The concert this Thursday night is dedicated to the memory of esteemed conductor Rafael Frühbeck de Burgos, who was a much beloved presence with the Boston Symphony Orchestra both at Symphony Hall and at Tanglewood, and who was originally to have conducted the BSO’s concerts this week and next. This week’s Thursday concert has been underwritten in his memory by a gift from Jane and Jeffrey Marshall.

Rafael Frühbeck de Burgos September 15, 1933 – June 11, 2014 Stu Rosner

Rafael Frühbeck de Burgos conducts the Boston Symphony Orchestra in April 2011 at Symphony Hall.

From the Members of the Boston Symphony Orchestra

The death of Maestro Rafael Frühbeck de Burgos was met this past summer with profound sadness and regret by the musicians of the Boston Symphony Orchestra. His collaboration with the orchestra was a remarkable partnership, spanning decades and a wide range of repertoire, all of it marked by a special blend of chemistry and rapport.

Precision, style, and discipline were hallmarks of his approach to music-making on the podium. His musical interpretations were characterized by a harmonious blend of proportion, command, and a thorough knowledge of the repertoire. His dignity, unique sense of humor, and respect for the orchestra were appreciated by all. Performances with Maestro Frühbeck of works by the Spanish composers Falla and Albéniz, orchestral arrangements of his own creation, and other great works of the symphonic repertoire were memorable and enjoyable occasions for BSO musicians and audiences alike.

Stepping in on short notice to conduct several critical performances, Maestro Frühbeck commanded boundless admiration and respect from the BSO, and earned a special place in the hearts of its musicians. His presence will be greatly missed by us all.

34 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, October 16, 8pm Friday, October 17, 8pm (UnderScore Friday concert, including introductory comments from the stage by BSO timpanist Timothy Genis) Saturday, October 18, 8pm Tuesday, October 21, 8pm thierry fischer conducting brahms piano concerto no. 1 in d minor, opus 15 Maestoso Adagio Allegro non troppo rudolf buchbinder

{intermission} nielsen symphony no. 4, opus 29, “the inextinguishable” Allegro— Poco allegretto— Poco adagio quasi andante— Allegro thursday night's concert is underwritten by a gift from jane and jeffrey marshall in memory of rafael frühbeck de burgos. saturday night’s concert is supported by donna in honor of don comstock’s birthday. bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The Thursday, Saturday, and Tuesday concerts will end about 10, the Friday concert about 10:10 Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 5 program 35 The Program in Brief...

Brahms completed his D minor piano concerto in 1859, when he was just twenty-five years old. It was his second big work for orchestra (after the unjustly neglected Serenade in D) and is his earliest heard with any regularity in the concert hall today. When it was new, however, the piece evoked decidedly mixed responses. Its composition cost Brahms years of struggle, with much rewriting and alteration along the way; some of its material derives from the composer’s early efforts to create a symphony.

The concerto is noteworthy for its wide-ranging content, variety of contrast, and unique personality. The instrumentation of the very opening—a jagged melody in violins and cellos, heard against sustained notes from winds and lower strings, and rumbling drum- rolls—immediately creates a world recognizably the concerto’s own. The slow movement combines breadth and lyricism with a depth of feeling that can seem almost startling, given how young Brahms was when he wrote it. This is music of striking emotional depth that never fails to absorb the listener, and remains a key reason for the important place the work holds in the repertoire.

Though Danish composer Carl Nielsen was born the very same year as his Finnish con- temporary , his music has never achieved anywhere near the same level of international popularity. Like so many other great composers, Nielsen wrote in nearly all of the major genres. Between 1891 and 1925 he produced six , four of which bear his own descriptive subtitles reflecting their musical character. Premiered in February 1916, in Copenhagen, with the composer conducting, No. 4 is The Inextinguishable, and intended to represent, as he wrote in a letter to his wife outlining his idea for a new work, “zest for life or the expression of life...but only that which is life, or that which desires life.” Also in that letter he emphasized life’s constant changeability, “as if always flowing in one great movement in a single stream”—an idea made manifest in the sym- phony itself, conceived as four movements flowing directly from one to the next, their thematic materials being sometimes different, sometimes interrelated.

A sense of harmonic instability pervading much of The Inextinguishable typifies an element of Nielsen’s compositional style often referred to as “progressive tonality,” in which music that is harmonically ambiguous, often seeming to suggest or establish one particular key at the outset of a piece, moves progressively toward final resolution in a key different from the one implied at the beginning. In The Inextinguishable, that final arrival comes with the triumphant return of a tune introduced early and quietly by clarinets in the first movement, ultimately to be proclaimed by full orchestra in the finale. Overall, the music of this symphony combines a modernist, early-20th-century compositional bent with elements following from mid- to late-19th-century Romanticism—e.g., Brahmsian contrasts between rhythmic dynamism and mellow lyricism, and a Bruckner-like harmonic questing toward significant junctures—but always in service to Nielsen’s unique compo- sitional voice.

Marc Mandel

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

JOHANNES BRAHMS was born in the free city of on May 7, 1833, and died in Vienna on April 3, 1897. His first piano concerto took shape over the years 1854-1858. Brahms played the solo part in the first performance, which took place in Hanover on January 22, 1859, with Joseph Joachim conducting.

IN ADDITION TO THE SOLO PIANO, the score calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings.

Admit, when you think of Brahms, you probably think of him as he is in the famous von Beckerath drawing of him at the piano (see page 41 of this program book)—an older man with grey hair and flowing white beard, stout, sure to light a cigar when he is finished playing, then off to a place called The Red Hedgehog for wine and smoke and conversation, gruff and sometimes outright rude but still capable of turning on charm for the ladies, going for long walks, writing many letters, some of them distressingly arch, spending summers composing in places with names like Portschach, Mürzzuschlag, and Bad Ischl, but unable to tolerate any of them more than three years in a row, and of course writing solid masterpiece after solid masterpiece.

Right enough, but it has nothing to do with the twenty-five-year-old Brahms struggling to bring his D minor piano concerto to completion—“I have no judgment about this piece any more, nor any control over it,” he writes to Joseph Joachim on December 22, 1857. Four years earlier, on October 28, 1853, closed his career as music critic with the celebrated, oft-invoked article New Paths: ... I have always thought that some day, one would be bound suddenly to appear, one called to articulate in ideal form the spirit of his time, one whose mastery would not reveal itself to us step by step, but who, like Athena, would spring fully armed from the head of Zeus. And he is come, a young man over whose cradle graces and heroes have stood watch. His name is Johannes Brahms...and he [bears] even outwardly those signs that proclaim: here is one of the elect.

week 5 program notes 37 Program page from the first Boston Symphony performances of Brahms’s D minor piano concerto on November 30 and December 1, 1900, with Wilhelm Gericke conducting and Harold Bauer as soloist (BSO Archives)

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

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

He set out in 1854 to write a sonata for two pianos, but by June of that year, he was already uncertain about it and wrote to Joachim: I’d really like to put my D minor sonata aside for a long time. I have often played the first three movements with Frau Schumann. (Improved.) Actually, not even two pianos are really enough for me.... I am in so confused and indecisive a frame of mind that I can’t beg you enough for a good, firm response. Don’t avoid a negative one either, it could only be useful to me.

In March he had traveled the few miles from Düsseldorf to Cologne in order to hear the Beethoven Ninth for the first time. More than twenty-two years would pass before he allowed himself to complete a symphony and have it performed, but still, from then on, the idea of writing such a work gave him no peace. Before long, the sonata for which two pianos were not enough turned into the symphony it had really wanted to be in the first place (and the choice of D minor, the key of the Beethoven Ninth, for this sonata/ symphony is no coincidence). He was reluctant, though, to face the idea of symphony, nor

week 5 program notes 39 40 Brahms at the piano, as drawn by his artist friend Willy von Beckerath would the sonority of the piano go away. To turn the music into a piano concerto seemed to be the answer, and by April 1856 he was sending drafts to Joachim (“You know how infinitely you could please me—if it’s worth the effort at all—by looking at it very carefully and passing on to me even the most trivial of your thoughts and reservations”).

Joachim to Brahms, December 4, 1856: I don’t know whether you will be pleased by my penciled suggestions and wish you’d soon answer that unstated question, best of all by simply sending me the concerto’s continuation.... I become more fond of the piece all the time, though certain things don’t altogether convince me compositionally: from page 21 to 24 it’s too fragmentary, not flowing enough—restless rather than impassioned—just as in general, after the significant opening and the wonderfully beautiful song in minor, I miss an appropriately magnificent second theme—I do realize that something commensurately elevated and beautiful in major, something that could compete in breadth with the opening idea, must be hard to find—but even these reservations don’t blind me to the many glories of the movement.

Brahms to Joachim, December 12, 1856: So here is the finale, just to be rid of it at last. Will it be good enough for you? I doubt it. The end was really meant to be good, but now it doesn’t seem so to me. A thousand thanks for having looked over the first movement so benevolently and exactly. I have already learned a lot from your beautiful commentary.... Scold and cut all you want.

Brahms to Joachim, early January 1857: You’re not embarrassed to make heavy and heavier cuts in the rondo, are you? I know very well that they’re needed. Send it soon. Here’s the first movement, copied over for a second—and, please, severe—going over.... Oddly enough, an Adagio is going along as well. If I could only rejoice over a successful Adagio. Write to me about it, and firmly. If you like a little bit, show it to our dear friend, otherwise not.... I like the little alter-

week 5 program notes 41 ation on page 19, line 2, but doesn’t it remind me of Wagner?... Dear Joseph, I am so happy to be able to send you my things, it makes me feel doubly sure.

Joachim to Brahms, January 12, 1857: Your finale—all in all, I find it really significant: the pithy, bold spirit of the first theme, the intimate and soft B-flat major passage, and particularly the solemn reawakening toward a majestic close after the cadenza, all that is rich enough to leave an uplifting impression if you absorb these principal features. In fact, I even believe that even after the impassioned spaciousness of the first movement and the elevating reverence of the second it would make a satisfying close to the whole concerto—were it not for some uncertainties in the middle of the movement, which disturb the beauty and the total effect through a kind of instability and stiffness. It sounds as though the themes themselves had been invented by the creative artist in very heat of inspiration, but then you hadn’t allowed them enough time to form proper crystals in the process of fermentation. [There follow several pages of detailed criticism of the harmonic struc- ture and some questions about the scoring.] ...A conversation with Frau Schumann led me to think it would be well if you wrote another finale, revision often being more trouble than new invention. But that would be a waste of so much that is meaningful in the rondo, and perhaps you can bring yourself back to the point of working with your original impetuosity so as to make those few places over—I’d like that.

42 Brahms (seated) and Joseph Joachim, 1857

So it went for months more, with revisions, with decisions to leave certain things alone (“I’m returning one passage still with the mark of Cain on its forehead”), with inquiries about horn transpositions, the risk involved in assigning a solo to the third horn (“The players in Hamburg and Elberfeld are worthless, and who knows about other orches- tras?”), about the advisability of omitting the piccolo altogether (he did, settling finally on a contained and classical orchestra with woodwinds and trumpets in pairs, four horns, kettledrums, and strings). In December 1857 he wrote the despairing sentence already quoted: “I have no judgment about this piece any more, nor any control over it,” adding “Nothing sensible will ever come of it.” To which Joachim sensibly replied, “Aber Mensch, but I beg you, man, please for God’s sake let the copyist get at the concerto.” “I made more changes in the first movement,” Brahms reported in March 1858 and even risked not sending them to Joachim. That good friend made his orchestra available for a reading rehearsal in Hanover in April, and bit by bit, Brahms came to face the inevitable: he must let it go and perform it.

The premiere in Hanover went well enough, but the performance in the more important city of Leipzig a few days later was a disaster: No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration.... I think it’s the best that could happen to one, it forces you to collect your thoughts and it raises courage. After all, I’m still trying and groping. But the hissing was really too much, yes?

“For all that,” Brahms wrote in the same letter to Joachim, “one day, when I’ve improved its bodily structure, this concerto will please, and a second will sound very different.” He was right on both points—though, in fact, he revised only some details. He became a master. For the solemn, sarabande-like slow movement of the D minor symphony-that-

week 5 program notes 43 never-was, he found a beautiful use when he set to it the words “For all flesh is as grass, and all the glory of man as the flower of grass” in his German Requiem. And who would want the D minor concerto to be other than it is, great and with rough edges, daring and scarred, hard to make sound well, and holding in its Adagio, over which he once inscribed the words “Benedictus qui venit in nomine Domini,” all that in his painful, Werther-like loyalty and love he had felt about Robert and Clara Schumann?

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

the first american performance of music from the Brahms First Piano Concerto was of just the first movement, on December 9, 1871, in Boston, with Marie Krebs as soloist and Theodore Thomas conducting his orchestra. Leopold Godowsky was soloist for the first complete American performance on March 2, 1900, with Theodore Thomas conducting the Chicago Orchestra. the first boston symphony orchestra performances of the Brahms Piano Concerto No. 1 took place in the BSO’s first Symphony Hall season, on November 30 and December 1, 1900, with Wilhelm Gericke conducting and Harold Bauer as soloist. Bauer was also soloist for the next three series of performances: in 1914 under Karl Muck, in 1920 under Pierre Monteux, and in 1925 under Serge Koussevitzky. The concerto has been heard in BSO concerts more frequently since 1930, in performances featuring Artur Schnabel, Myra Hess, Ossip Gabrilowitsch, Leonard Shure, Rudolf Serkin, Claudio Arrau, and Rudolf Firkuˇsn´y(all with Koussevitzky conducting), Arrau (with Richard Burgin), Jesús María Sanromá (with Leonard Bernstein), Solomon (Charles Munch), Leon Fleisher (Pierre Monteux), Rudolf Serkin and Gary Graffman (Munch), Van Cliburn, , and Claude Frank (all with Erich Leinsdorf), Frank (Burgin), Misha Dichter (Michael Tilson Thomas), Rudolf Serkin, Maurizio Pollini, and Claudio Arrau (all with Seiji Ozawa), Garrick Ohlsson (Klaus Tennstedt), Firkuˇsn´y(Eugene Ormandy), Marek Drewnowski (Leonard Bernstein), Daniel Barenboim (Ozawa and Ilan Volkov), Emanuel Ax (Andrew Davis, , Christoph von Dohnányi, and Bernard Haitink), John Browning (Jeffrey Tate), Krystian Zimerman (Rattle), Peter Serkin (Ozawa and Chrisoph Eschenbach), Yefim Bronfman ( and David Zinman), Evgeny Kissin (James Levine), and Gilles Vonsattel (Herbert Blomstedt). The most recent subscription performances were Kissin's, with James Levine in April 2008. The BSO's most recent Tanglewood performance was Peter Serkin's with Christoph Eschenbach on July 30, 2011, though a more recent Tanglewood performance this past summer, on August 6, 2014, featured Lars Vogt with Paavo Järvi conducting the Deutsche Kammerphilharmonie Bremen.

week 5 program notes 45

Carl Nielsen Symphony No. 4, Opus 29, “The Inextinguishable”

CARL NIELSEN was born in Sortelung, Denmark, on June 9, 1865, and died in Copenhagen on October 3, 1931. He composed his Symphony No. 4 in the years 1914-1915, and it received its first performance on February 1, 1916, in Copenhagen, with Nielsen conducting the Musikforeningen Orchestra.

THE SCORE OF THE SYMPHONY calls for an orchestra of three flutes (one doubling piccolo), three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, two sets of timpani (with two players, stationed opposite each other), and strings.

In the 19th century Scandinavian composers normally studied in Germany as soon as they could acquire the necessary fundamentals in their home countries. Conservatories established in Stockholm and Copenhagen were often staffed by German musicians, and the better students generally progressed to Berlin, Leipzig, or Vienna for further study. The exchange of skills and experience was profitable for all. But by the time Carl Nielsen came of age it was widely felt that northern composers should preserve their independ- ence from the great German tradition, and that without pursuing a narrow nationalist path on the basis of folk melodies (which some felt the Russians and Czechs had taken to excess) they should express a distinctive character of their own. While his Finnish friend Sibelius took a course of strict study in Berlin, Nielsen, having grounded his studies at the Copenhagen Conservatoire, preferred to travel from one city to the next in Germany, France, and Italy, sampling and savoring the music he encountered along the way. He returned to Denmark as Sibelius did to Finland, both determined to put their countries on the musical map by the sheer force of their creative personalities, not by waving a flag.

Nielsen was a man of simple origins, brought up in poverty far from any city, and largely self-taught in music. Throughout his life he reached out for new ideas, new experience, and a greater understanding of the world of feeling and expression. He was highly active in all musical spheres, as composer, violinist, conductor, and teacher, and he traveled

week 5 program notes 47 Program page from the first Boston Symphony performances of Nielsen’s Symphony No. 4, in April 1978 with Seiji Ozawa conducting (BSO Archives)

48 widely. He rose steadily to a supreme position in Danish musical life, and at the time of the composition of the Fourth Symphony was conductor of Copenhagen’s long established concert society, the Musikforeningen, at the head of whose orchestra he presented his new work in February 1916. Throughout the First World War Denmark sustained a pre- carious neutrality, despite the economic difficulties felt by combatants and neutrals alike, and Nielsen’s efforts contributed greatly to the growing sense of cultural identity that Denmark built up in those years.

He is everywhere regarded as the greatest of Danish composers. Yet only a few of his works are regularly heard outside of Denmark, and his star shines only fitfully in the bright constellation that includes his fellow Scandinavians Sibelius and Stenhammar, not to mention the plethora of creative talent that challenged the ears of Europe and America in the first years of the 20th century—Mahler, Debussy, Strauss, Scriabin, Schoenberg, Elgar, Roussel, Szymanowski, to mention only a few. Many of these com- posers regarded the symphony as their prime creative outlet, as did Nielsen, and the inheritance from Beethoven was still the driving impulse behind their conception of form and expression. Despite the allure of novelty to which all the arts succumbed in those years, Nielsen remained true to his original ideals, which he found in the music of Haydn and Mozart, and in the language of traditional tonality. He never wrote for the huge orchestras so fashionable around 1910. As in Sibelius, there is a certain austerity in Nielsen’s orchestral palette (in the Fourth Symphony there is no bass clarinet, no English horn, no harp, and no percussion apart from the timpani). He avoided sensa-

week 5 program notes 49

Carl Nielsen’s residence at Frederiksholms Kanal 28, in Copenhagen

tionalism and sentimentality, and strove to write music that presented its own arguments and reached its own solutions. A Nielsen symphony is a self-contained experience that demands no more than willing concentration and a sympathetic, discerning ear.

The character of his music is embodied in the titles he gave to three of his six symphonies. No. 3 is “expansive,” No. 4 is “inextinguishable,” and No. 6 is “simple.” Contradictory though these may seem, Nielsen felt strongly that music should be wide-ranging, exploratory, searching, and self-confident, but always simple.

In 1914 he wrote to his wife: I have an idea for a new work which has no program, but which will express what we understand by zest for life or the expression of life; that is, everything that moves, that desires life, which can be called neither good nor bad, neither high nor low, neither large nor small, but only that which is life or that which desires life. No particular idea of anything grandiose or anything refined and delicate or hot or cold but only life and movement, but different, very different, but coherent, and as if always flowing in one great movement in a single stream.

Inarticulate though these words may seem, the music took gradual shape as the Fourth Symphony. Clinging to his faith that music, like the human spirit, is inextinguishable, Nielsen gave that title to his new work. It is not an expression of doubt or of horror. Although some see in the symphony a reflection of the ruin of the World War, it is a peaceable, thoughtful work whose only violent outbreak occurs in the last movement, giving way to a serene and positive ending.

The four movements run continuously “in a single stream,” even though their separate identities are clear. The first movement, like the last, ends in the key of E major, but it

week 5 program notes 51 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange |Lange Media Sales |781-642-0400 |[email protected]

52 begins in F, which indicates the sort of exploratory journey that Nielsen liked to pursue. A strong opening for full orchestra gives way to a quieter section, in which the chief inci- dent is the emergence of a calm tune for a pair of clarinets (the descending contour of this melody is shared by many of the symphony’s themes). This theme, more noisily scored, closes the exposition, and the development goes off into a bleak space where the violas occasionally irrupt. Argument takes the form of constant counterpoint between upper and lower voices, and, as noted, most of the generative themes seem to descend. The recapitulation is abbreviated, leading to a grand Brucknerian close.

The second movement is an intermezzo of delicate character, rarely rising above pianissi- mo. It is scored primarily for woodwinds, the strings contributing only some slight inter- ventions, pizzicato. Here one may detect a folksy flavor in the music, recalling Nielsen’s lifelong interest in popular melodies and the music of rural Denmark. The third move- ment, an Adagio, breaks in with an intense theme of a very different character played by all the violins, and descending inexorably through two octaves. It is treated rather like a fugue since the lower strings answer with the same forceful line. But this gives way to a hymnlike melody played by solo strings, and often treated by the brass in the fashion of a chorale. Two very different ideas run against it—one a tiny clip in the winds, the other a heavy entry circling round a single note. Toward the end the strings try to recapitulate their opening descent, but it fades into woodland birdcalls and is interrupted by cascad- ing strings and the unmistakable start of the finale.

The course of this last movement is brought up sharply by the intervention of two pairs of timpani locked in what seems like mortal combat. This highly disquieting interruption creates havoc in the orchestra, which responds with dignity, with argument, with dis- tracted counterpoint, and finally with the clarinets’ theme from the first movement in full orchestral garb. This is the resolution the music was seeking, and the timpani share in the splendid peroration.

Hugh Macdonald hugh macdonald, for many years Avis Blewett Professor of Music at Washington University in St. Louis, has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His most recent books are “Bizet” (Oxford University Press, 2014) and “Music in 1853” (University of Rochester Press, 2012).

THEFIRSTPERFORMANCEINAMERICA of Nielsen’s Symphony No. 4 was given on October 15, 1952, in Carnegie Hall, New York, by the Danish Radio Symphony Orchestra under Thomas Jensen.

THEBOSTONSYMPHONYORCHESTRA has performed Nielsen’s Symphony No. 4 on just three previous occasions: with Seiji Ozawa conducting in April 1978, at Symphony Hall, Carnegie Hall, and in Providence, Rhode Island; with Dennis Russell Davies in October 1988 at Symphony Hall; and with Herbert Blomstedt in February/March 2004, also at Symphony Hall.

week 5 program notes 53

To Read and Hear More...

Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Michael Musgrave’s A Brahms Reader, which offers wide-ranging consideration of the composer’s life and work (Yale University Press); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein him- self (Norton); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronology of the com- poser’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (published originally in 1905 but periodically available in reprint editions). Malcolm MacDonald’s Brahms is a very good life-and-works volume in the “Master Musicians” series (Schirmer). For detailed analysis of the works, go to Michael Musgrave’s The Music of Brahms (Oxford paperback) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). A Guide to the Concerto, edited by Robert Layton, includes a section by Joan Chissell on “The Symphonic Concerto: Schumann, Brahms, and Dvoˇrák” (Oxford paperback). Michael Steinberg’s notes on the Brahms concertos are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the concertos are among his Essays in Musical Analysis (also Oxford).

Rudolf Buchbinder has made two recordings of Brahms’s Piano Concerto No. 1: with conducting the Royal Concertgebouw Orchestra of Amsterdam (Apex), and live with Zubin Mehta and the Israel Philharmonic (Helicon). Other note- worthy recordings (listed alphabetically by pianist) include Leon Fleisher’s with George Szell and the Cleveland Orchestra (Sony Classical), Nelson Freire’s with Riccardo Chailly and the Gewandhaus Orchestra of Leipzig (Decca), Steven Kovacevich’s with Wolfgang Sawallisch and the London Philharmonic (EMI), Garrick Ohlsson’s with Tadaaki Otaka and the Melbourne Symphony Orchestra (ABC Classics), Maurizio Pollini’s with and the Dresden Staatskapelle (Deutsche Grammophon), and Krystian Zimerman’s with Sir Simon Rattle and the Berlin Philharmonic (Deutsche Grammophon). Among historic recordings, an excellent one to know is Solomon’s, recorded in 1952 with Rafael Kubelik conducting the Philharmonia Orchestra (Testament). The Boston Symphony

week 5 read and hear more 55

Orchestra recorded the Brahms First Piano Concerto three times for RCA: with soloist Gary Graffman under Charles Munch in 1958, with Van Cliburn under Erich Leinsdorf in March 1964 (incorporating alterations by Leinsdorf to Brahms’s instrumentation), and with Arthur Rubinstein under Leinsdorf in April 1964.

Books about Nielsen include Carl Nielsen: Symphonist by Robert Simpson, long considered the best study of the composer’s symphonic works (Taplinger; published originally in 1952, revised 1979; Kahn & Averill paperback, 1986); Jack Lawson’s Carl Nielsen in the copiously illustrated “20th-Century Composers” series (Phaidon paperback), and The Nielsen Companion, edited by Mina F. Miller (Amadeus Press). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Nielsen by David Fanning (Oxford paper- back). It was Fanning who contributed the entry on Nielsen in the 2001 Grove Dictionary of Music and Musicians.

Recordings of Nielsen’s Symphony No. 4, The Inextinguishable, include Herbert Blomstedt’s with the Danish Radio Symphony Orchestra (EMI) and the San Francisco Symphony (Decca), Osmo Vänskä’s with the BBC Scottish Symphony (BIS), Jukka-Pekka Saraste’s with the Finnish Radio Symphony (Finlandia), Paavo Berglund’s with the Royal Danish Orchestra (RCA), ’s with the Gothenburg Symphony Orchestra (Deutsche Grammophon), Simon Rattle’s with the City of Birmingham Symphony Orchestra (EMI), and Leonard Bernstein’s with the New York Philharmonic (Sony Classical).

Marc Mandel

week 5 read and hear more 57

Guest Artists

Thierry Fischer

Making his Boston Symphony Orchestra debut this week, Thierry Fischer recently renewed his contract as music director of the Orchestra, extending it to a ten-year term. He has attracted leading young musicians to join the orchestra and notable soloists to come to Utah, drawing consistently full houses and galvanizing community support. Mr. Fischer also brings a real excitement to performances of contemporary works by such composers as Jarrell, Andriessen, Boulez, Holliger, Rihm, and Widmann, as well as Simon Holt, who served as composer-in-residence during Mr. Fischer’s tenure at the BBC National Orchestra of Wales. In Utah Mr. Fischer has instituted a major commissioning program, which began in spring 2012 with a cello concerto for Jean-Guihen Queyras composed by Michael Jarrell; Mr. Fischer also conducted this work with the Orchestre de la Suisse Romande in 2014. Principal conductor of the BBC National Orchestra of Wales from 2006 to 2012, Mr. Fischer returned with that ensemble to the 2014 BBC Proms. A busy guest- conducting career has taken him to orchestras as diverse as London’s Philharmonia, the Czech Philharmonic, , Orchestre National de Lyon, Frankfurt Radio Symphony, Seoul Philharmonic, Cincinnati Symphony, Chicago’s Grant Park Orchestra, the Orchestra of the Age of Enlightenment, London Sinfonietta, Scottish Chamber Orchestra, and Swedish Chamber Orchestra. Highlights of 2014 and beyond include engagements with the Oslo Philharmonic, Rotterdam Philharmonic, Residentie Orkest (The Hague), BBC Symphony, Salzburg Mozarteumorchester, Madrid RTVE, Aspen Music Festival, Detroit Symphony, and Atlanta Symphony. In 2012 his Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded

week 5 guest artists 59 the International Award (opera category). Other recent Hyperion releases have included music of Honegger, d’Indy, and Florent Schmitt with the BBC National Orchestra of Wales—with which he has also recorded the Stravinsky ballets for Signum, as well as the Stravinsky and Martin violin concertos with for Orfeo. Thierry Fischer began his career as principal flute in Hamburg and at Zurich Opera. He began his conducting career in his thirties, when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe, where he was principal flute under . He spent his apprentice years in Holland, and became principal conductor and artistic advisor of the from 2001 to 2006. From 2008 to 2011 he served as chief conductor of the Nagoya Philharmonic, making his Suntory Hall debut in Tokyo in May 2010; he is now honorary guest conductor of that orchestra.

Rudolf Buchbinder

The Viennese pianist Rudolf Buchbinder is firmly established as one of the world’s foremost musicians, performing regularly with major orchestras and conductors around the world. His comprehensive repertoire encompasses music from Bach to the present day and can be heard in more than one hundred recordings, many of them award-winners. Among his notable recordings are Haydn’s complete works for piano (Warner Classics), which was honored with the Grand Prix du Disque, and his live recording of Beethoven from the Semperoper in Dresden (Sony/RCA Red Seal), which garnered the 2012 Echo Klassik Award in the category “Instrumentalist of the Year,” as well as the Choc de l’Année 2012. Other projects include live recordings of works by Mozart, the five Beethoven concertos with Mr. Buchbinder as both soloist and conductor with the Vienna Philharmonic, and the two Brahms piano concertos with the Israel Philharmonic led by Zubin Mehta. Particularly noted for his interpretations of Beethoven’s music, he continues to set standards with his performances of the complete Beethoven sonatas in more than forty-five cities, among them Vienna, Berlin, Beijing, Buenos Aires, St. Petersburg, Milan, Munich, Dresden, Istanbul, and Zurich. At the 2014 Salzburg Festival he played the thirty-two Beethoven sonatas over a series of seven recitals, the first pianist in the history of the festival to do so; all seven con-

week 5 guest artists 61 certs were filmed by Unitel. Concurrently his second book, Mein Beethoven—Leben mit dem Meister, was published by Residenz Verlag. Over the coming years Rudolf Buchbinder will continue to focus on the works of Beethoven, with a fiftieth sonata cycle already being planned. As he recently commented, “You can never know where your career will lead. It would be wonderful to experience the summit of my career as a pianist at the end of my life. But it would then be a pity that I would never know how it might have continued.” Mr. Buchbinder’s interpretations are based on the meticulous study of original sources. With a passion for historical scores, he has amassed a collection that includes thirty-eight complete editions of Beethoven’s piano sonatas and an extensive collection of first editions and original documents, as well as the autograph scores and the piano parts of both Brahms piano concertos. Rudolf Buchbinder is the founding artistic director of the Grafenegg Festival, which has, under his direction, become one of the leading orchestral festivals in Europe since its founding in 2007. In his biography, Da Capo, introduced by Joachim Kaiser, Mr. Buchbinder offers insights into his life and his many artistic experiences. For further information please visit www.buchbinder.net. This week’s concerts bring Rudolf Buchbinder’s first BSO appearances since his Boston Symphony debut in April 1986 as soloist in Beetho- ven’s Piano Concerto No. 3 with Jeffrey Tate conducting.

week 5 guest artists 63 The Great Benefactors

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

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

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

five million Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

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

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

‡ Deceased

week 5 the great benefactors 65

Maestro Circle

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

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by October 1, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu •

weeks 5 maestro circle 67 68 John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore $25,000 to $49,999 Jim and Virginia Aisner • Joan and John Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Henrietta N. Meyer • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Laurel E. Friedman • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • John F. Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 5 the higginson society 69 70 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Helaine B. Allen • Shirley and Walter Amory • Dr. Ronald Arky • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Mr. Jeff Conklin • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Pannell • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Shirley and Richard Fennell • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Mr. David Fromm • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jane ‡ and Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Mrs. Peggy P. O’Connor • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (7)

weeks 5 the higginson society 71

Administration

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

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 5 administration 73 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 5 administration 75 Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

76 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box office representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 5 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

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

week 5 administration 79 Next Program…

Thursday, October 23, 8pm Friday, October 24, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, October 25, 8pm

bramwell tovey conducting

bach cantata no. 82, “ich habe genug” Aria: Ich habe genug Recitative: Ich habe genug Aria: Schlummert ein, ihr matten Augen Recitative: Mein Gott! wenn kömmt das schöne: Nun! Aria: Ich freue mich auf meinen Tod bryn terfel, bass-baritone john ferrillo, solo oboe

{intermission}

brahms “ein deutsches requiem” (“a german requiem”), opus 45, on words from holy scripture Selig sind, die da Leid tragen Denn alles Fleisch es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie keine bleibende Statt Selig sind die Toten rosemary joshua, soprano mr. terfel tanglewood festival chorus, john oliver, conductor

This program pairs two of the great works for voice and orchestra in the German musical literature. Bach’s 1727 cantata for bass soloist and orchestra stands among the best-known of his several hundred works in the genre. Its text (the title translates to “I have enough”) refers to the sustain- ing power of faith in the hour of death. A German Requiem, Brahms’s largest work, originated with music he wrote following Robert Schumann’s attempted suicide in 1854 and evidently was also connected with the death of the composer’s own mother. The result is an utterly personal, scarcely ceremonial Requiem for soprano and baritone soloists, chorus, and orchestra, episodically setting texts from the Bible. Its “German”-ness derives partly from the fact that, unlike the tradi- tional Latin Requiem text, Brahms used Martin Luther’s German translations of scripture. Bryn Terfel makes his BSO subscription series debut in these concerts, and British soprano Rosemary Joshua makes her BSO debut in the German Requiem.

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

Sunday, October 19, 3pm Thursday ‘B’ November 6, 8-9:55 Jordan Hall, New England Conservatory Friday ‘B’ November 7, 1:30-3:25 BOSTONSYMPHONYCHAMBERPLAYERS Saturday ‘B’ November 8, 8-9:55 Tuesday ‘C’ November 11, 8-9:55 J.S.BACH Trio Sonata in G for flute, violin, and continuo, BWV 1038 ANDRISNELSONS, conductor NIELSEN Wind Quintet, Opus 43 BAIBASKRIDE, violin BRAHMS Serenade No. 1 in D GUBAIDULINA Offertorium, Concerto for (ARR. BOUSTEAD) violin and orchestra SIBELIUS Symphony No. 2

Thursday ‘A’ October 23, 8-10:15 Friday ‘B’ October 24, 1:30-3:45 Thursday ‘A’ November 13, 8-10 Saturday ‘B’ October 25, 8-10:15 UnderScore Friday November 14, 8-10:10 BRAMWELLTOVEY, conductor (includes comments from the stage) ROSEMARYJOSHUA, soprano Saturday ‘A’ November 15, 8-10 BRYNTERFEL, bass-baritone Tuesday ‘B’ November 18, 8-10 TANGLEWOOD FESTIVAL CHORUS, ANDRISNELSONS, conductor JOHNOLIVER, conductor HÅKANHARDENBERGER, trumpet J.S.BACH Cantata No. 82, Ich habe genug TCHAIKOVSKY Hamlet, Fantasy-overture after BRAHMS A German Requiem Shakespeare DEAN Dramatis personae, for trumpet and orchestra (American Thursday ‘C’ October 30, 8-10 premiere) Friday ‘A’ October 31, 1:30-3:30 STRAVINSKY The Rite of Spring Saturday ‘A’ November 1, 8-10 Tuesday ‘B’ November 4, 8-10 JUANJOMENA, conductor FRANKPETERZIMMERMANN, violin SIBELIUS Violin Concerto SCHUBERT Symphony in C, The Great

Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 5 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

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 infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 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 avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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 83 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 pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 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 infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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