Week 25 2016–17 Season Shostakovich Rachmaninoff Mahler

Home , Camilla Tilling, Gramophone Hall of Fame, Jo Vincent, Leif Ove Andsnes, Mark Stone (baritone), Orango (Shostakovich)

2016–17 season andris nelsons music director

week 25 shostakovich rachmaninoff mahler

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner INSPIRATION IS EVERYWHERE

MEMBERS SEE IT FREE

Through July 9 mfa.org/matisse

The exhibition is organized by the Museum of Fine Arts, Boston, and the Royal Academy of Arts, in partnership with the Musée Matisse, Nice. Sponsored by Bank of America. Presented with additional support from the Betty L. Heath Paintings Fund for the Art of Europe, and the Alexander M. Levine and Dr. Rosemarie D. Bria-Levine Exhibition Fund. This project is supported in part by an award from the National Endowment for the Arts. Media sponsor is WCVB Boston. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Henri Matisse, Interior with Egyptian Curtain, 1948. Oil on canvas. The Phillips Collection, Acquired 1950. © 2017 Succession H. Matisse / Artists Rights Society (ARS), New York. Table of Contents | Week 25

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 when the shadow fell: shostakovich’s re-inventive art by thomas may 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 Dmitri Shostakovich 41 Sergei Rachmaninoff 49 Gustav Mahler 63 To Read and Hear More…

Guest Artists

69 Leif Ove Andsnes 71 Kristine Opolais

75 2016-2017 season summary

88 sponsors and donors 106 symphony hall exit plan 107 symphony hall information

the friday preview on may 5 is given by bso director of program publications marc mandel.

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

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

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

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

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke † • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy •

week 25 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson

Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

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

† Deceased

week 25 trustees and overseers 5 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . BSO News

New This Month on BSO Classics: “Brahms: The Symphonies” with Andris Nelsons and the BSO The Boston Symphony Orchestra and Andris Nelsons are pleased to announce the release this month of their latest recordings on BSO Classics—a three-disc set of the four Brahms symphonies, recorded live during concert performances at Symphony Hall this past November, engineered by the same in-house team that produced the BSO’s recent Grammy-winning Shostakovich recordings under Maestro Nelsons on Deutsche Grammophon. This new Brahms symphony cycle follows two others recorded previously by the BSO, under Erich Leinsdorf in the mid-1960s and Bernard Haitink in the early 1990s. “It makes me so proud and happy,” observes Andris Nelsons, “that the Boston Symphony Orchestra of today, filled with so many great musicians, will now have its own place in recorded history with this amazing music.” Priced at $34.99 for the three-CD set and $23.99-$30.99 for downloads (depending on format), the recordings are available at the Symphony Shop and online at bso.org, as well as from Amazon.com and iTunes.

Announcing the BSO’s 2017-18 Subscription Season Andris Nelsons leads twelve subscription programs in the BSO’s 2017-18 season, ranging from music of Haydn, Mozart, and Beethoven to the premieres of BSO co-commissions by American composer Sean Shepherd and German composer Jörg Widmann. Soprano Camilla Nylund and tenor Jonas Kaufmann take the title roles in concert performances of Wagner's Tristan und Isolde, Act II; pianists Thomas Adès, Kirill Gerstein, and Jean-Yves Thibaudet join forces for Bach’s Concerto in D minor for three pianos as part of the BSO’s first “Leipzig Week in Boston,” marking the orchestra’s new alliance with the Gewandhaus Orchestra of Leipzig; Susan Graham and the women of the Tanglewood Festival Chorus join Maestro Nelsons for Mahler’s life-affirming Symphony No. 3; and Maestro Nelsons continues his survey of Dmitri Shostakovich’s symphonies—being recorded live for future release by Deutsche Grammophon—with symphonies 4, 11 (The Year 1905), and 14, the latter featuring soprano Kristine Opolais and bass-baritone Sir Bryn Terfel. Maestro Nelsons’ programs also feature pianists Rudolf Buchbinder and Paul Lewis in concertos of Beethoven; violinists Leonidas Kavakos in Prokofiev and Gil Shaham in Tchaikovsky; Yo-Yo Ma and BSO principal violist Steven Ansell in Strauss’s Don Quixote, and such other favorite works as Haydn’s Symphony No. 103 (Drumroll), Mendelssohn’s Symphony No. 3 (Scottish), Bruckner’s Symphony No. 4 (Romantic), Mahler’s Symphony No. 1, Strauss’s An Alpine Symphony, and Rachmaninoff’s Symphony No. 2.

week 25 bso news 7 OYSTER PERPETUAL

YACHT-MASTEr 40

rolex oyster perpetual and yacht-master are ® trademarks. The 2017-18 season marks the centennial of the birth of Leonard Bernstein, who maintained a career-long relationship with the Boston Symphony Orchestra at Symphony Hall and Tanglewood, dating back to his time as a protégé of Serge Koussevitzky. To begin the celebration on Opening Night in September, Andris Nelsons leads the BSO in a special all-Bernstein concert featuring BSO principal flute Elizabeth Rowe, soprano Julia Bullock, and mezzo-soprano Frederica von Stade. In March, Maestro Nelsons leads Bern- stein’s Symphony No. 2, The Age of Anxiety, with pianist Jean-Yves Thibaudet. Also to appear with the orchestra are the BSO’s Conductor Emeritus Bernard Haitink, Artistic Partner Thomas Adès, assistant conductors Moritz Gnann and Ken-David Masur, and, as the BSO’s first-ever artist-in-residence, pianist Jean-Yves Thibaudet, who is featured with both the BSO and the Boston Symphony Chamber Players. The BSO’s typically stellar roster of guest conductors for 2017-18 includes Herbert Blomstedt, Christoph von Dohnányi, Charles Dutoit, Alan Gilbert, Gustavo Gimeno, Giancarlo Guerrero, François-Xavier Roth, and Tugan Sokhiev. Among others, featured soloists also include pianists Pierre-Laurent Aimard and Emanuel Ax; soprano Camilla Tilling, tenor Paul Groves, and bass-baritone John Relyea; violinists Augustin Hadelich, Hilary Hahn, and Leila Josefowicz; and BSO principal oboe John Ferrillo. Complete programs and further information are available online at bso.org. Subscriptions for the BSO’s 2017-18 Symphony Hall season can be purchased online at bso.org via a secure credit card transaction; by phone at (617) 266-7575, or in person at the Symphony Hall box office.

Boston Symphony Chamber Players, This Sunday, May 7, at 3 p.m. at Jordan Hall The final concert of the Boston Symphony Chamber Players’ 2016-17 four-concert series at Jordan Hall at New England Conservatory takes place on Sunday, May 7, at 3 p.m. Guest pianist Leif Ove Andsnes joins the chamber players for this program, which includes Stravinsky’s Octet for flute, clarinet, two bassoons, two trumpets, and two trombones; Sofia Gubaidulina’sGarden of Joys and Sorrows, for flute, viola, and harp; Weinberg’s Sonata for solo double bass, and Brahms’s Piano Quartet No. 3 in C minor, Op. 60. For single tickets at $38, $29, and $22, visit the Symphony Hall box office or bso.org, or call Sym- phonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at the Jordan Hall box office.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speaker for this week’s final Friday Preview of the season on May 5 is Marc Mandel. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 107 of this program book.

week 25 bso news 9 EXPERIENCE THE 2016–2017 SEASON

BACH MAGNIFICAT BACH CHRISTMAS McGEGAN Sept 23 + 25, 2016 Dec 15 + 18, 2016 AND MOZART Symphony Hall NEC’s Jordan Hall Mar 3 + 5, 2017 Symphony Hall BEETHOVEN EROICA MOZART Oct 28 + 30, 2016 AND HAYDN MONTEVERDI Symphony Hall Jan 27 + 29, 2017 VESPERS Symphony Hall Apr 7, 2017 HANDEL MESSIAH NEC’s Jordan Hall Nov 25-27, 2016 GLORIES OF THE Apr 9, 2017 Symphony Hall ITALIAN BAROQUE Sanders Theatre Feb 10 + 12, 2017 NEC’s Jordan Hall HANDEL SEMELE May 5 + 7, 2017 Symphony Hall

HANDELANDHAYDN.ORG 617.266.3605

10 The John F. Cogan, Jr., and honorary overseer of the Museum of Fine Mary L. Cornille Concert, Arts, Boston; former overseer of the Epiph- Thursday, May 4, 2017 any School in Dorchester, and a member of The performance on Thursday evening is WGBH’s Overseers Advisory Board. supported by a generous gift from BSO Life Trustee John F. “Jack” Cogan, Jr., and his wife, The Gilbert Family Concert, Mary L. Cornille. Jack began attending con- Friday, May 5, 2017 certs at Symphony Hall as a young person and has held the same Thursday-evening The concert on Friday afternoon is supported subscription seats since the 1960s. As Great by a generous gift from Joy S. Gilbert and Benefactors, Jack and Mary have given her family in memory of Richard Gilbert, generously to numerous initiatives at the a longtime BSO donor. The Gilbert family BSO. They have named the Cogan/Cornille has provided multi-generational support to Corridor—which houses the photo display the BSO for many years. Richard and Joy of BSO musicians—at Symphony Hall, and have regularly supported the Symphony established the John F. Cogan, Jr., and Mary Annual Fund since 1970. The couple fol- Cornille Chair, currently held by cellist Owen lowed in the footsteps of Richard’s parents, Young. Jack and Mary are members of the Sara and Moses Gilbert, who often sat with Higginson Society at the Encore level, the Mrs. Koussevitzky at Symphony Hall. Joy Koussevitzky Society at the Patron level, and has continued her Symphony subscription the Walter Piston Society. and Annual Fund support for more than four decades. Richard and Joy introduced Jack was elected to the BSO Board of Over- their three children, Paul B. Gilbert, Joanne seers in 1984, serving as its Vice-Chair from Arnold, and Susan R. Gilbert, to the Sympho- 1987 to 1989 and Chair from 1989 to 1992. ny when they were young. Paul and his wife He was elected a Trustee in 1992 and Vice- Patricia have maintained their own Sympho- Chair of the Board of Trustees in 2003, a ny subscription for thirty-seven consecutive position he held until 2007, when he was years, and they are also longtime supporters elevated to Life Trustee. He has served on of the Symphony Annual Fund. Additionally, many board committees during his tenure, they have made a generous commitment currently as a member of the Finance and to the Symphony Hall Forever Capital Fund. Leadership Gifts Committees. Jack is a for- Patricia was elected to the BSO Board of mer chairman and managing partner of the Overseers in 2014. law firm Hale and Dorr (now WilmerHale). A leader in the financial services industry in Boston and beyond, he retired as trustee, The John and Diddy Cullinane president, and chief executive officer of the Concert, Saturday, May 6, 2017 Pioneer Funds in 2014 after serving for more The performance on Saturday evening is than fifty consecutive years. Active in the supported by a generous gift from Great community, he is a member of the Harvard Benefactors John and Diddy Cullinane, who Law School’s Dean’s Advisory Board, the have supported numerous initiatives at the Harvard University Art Museums’ Visiting BSO for more than twenty years. John and Committee, and chairman emeritus of the Diddy have attended many Symphony, Pops, Museum of Fine Arts, Boston. Jack is also and Tanglewood performances over the years. trustee emeritus of Boston Medical Center A BSO Life Trustee since 2015, Diddy has (and past chairman of its predecessor, actively served on many committees and University Hospital) and a Fellow of the held leadership roles. Elected an Overseer American Academy of Arts and Sciences. in 1996, she served as Chair of the Board of Mary is an alumna of Wellesley College Overseers from 2001 to 2005, a Vice-Chair and Boston University, where she received of the Board of Trustees from 2005 to 2013, a master’s degree in art history. She is an and Chair of the Trustees Nominating and

week 25 bso news 11 Governance Committee, among other com- views with guest conductors, soloists, and mittee assignments. Diddy and John have BSO musicians are available online, along served on many benefactor committees for with a one-year archive of concert broad- Opening Night at Symphony and Pops. They casts. Listeners can also hear the BSO Con- have hosted many BSO engagement events cert Channel, an online radio station consist- over the years. ing of BSO concert performances from the previous twelve months. Visit classicalwcrb. Diddy was the founding president of Black org/bso. Current and upcoming broadcasts & White Boston, a non-profit organization include Andris Nelsons’ program last week formed in 1989 to promote social and busi- of Shostakovich, Tchaikovsky, and Takemit- ness interaction between the races. As su featuring violinist Anne-Sophie Mutter vice-chairman of the Boston Public Library (encore May 8) and this week’s program Foundation, she initiated The Library/School under Maestro Nelsons of Shostakovich, Creative Design & Writing Program show- Rachmaninoff, and Mahler—the final pro- casing students’ work on billboards through- gram of the season—with pianist Leif Ove out the city as well as their written work being Andsnes and soprano Kristine Opolais. published annually by Houghton Mifflin. She created a celebration of the library’s 100th anniversary held in a tent in Copley Square. Go Behind the Scenes: A simulcast was provided by WCVB-TV The Irving W. and Charlotte F. Rabb between Symphony Hall and Copley Square Symphony Hall Tours with John Williams conducting the Boston Pops Orchestra while both audiences joined The Irving W. and Charlotte F. Rabb Sympho- in a “happy birthday” sing-along to the library. ny Hall Tours, named in honor of the Rabbs’ devotion to Symphony Hall through a gift John and Diddy were inducted into the from their children James and Melinda Rabb Greater Boston Chamber of Commerce’s and Betty (Rabb) and Jack Schafer, provide Academy of Distinguished Bostonians. John a rare opportunity to go behind the scenes was the founder of Cullinane Corporation, at Symphony Hall. In these free, guided the computer industry’s first successful tours, experienced members of the Boston software products company. He was also Symphony Association of Volunteers unfold founding chair of the Massachusetts Tech- the history and traditions of the Boston Sym- nology Leadership Council and the Boston phony Orchestra—its musicians, conductors, Public Library Foundation, as well as the first and supporters—as well as offer in-depth president of the John F. Kennedy Library information about the Hall itself. Tours are Foundation. In addition, he is a recipient of offered on selected weekdays at 4 p.m. and an honorary degree from the University of some Saturdays during the BSO season. Ulster, the first-ever such degree awarded Please visit bso.org/tours for more informa- outside the island of Ireland, in recognition tion and to register. of his work supporting the peace process through jobs. John is also the author of a just published book, Smarter Than Their The Information Stand: Find Out Machines–Oral Histories of Pioneers in Inter- What’s Happening at the BSO active Computing. Are you interested in upcoming BSO concert information? Special events at Symphony BSO Broadcasts on WCRB Hall? BSO youth activities? Stop by the information stand in the Brooke Corridor on the BSO concerts are heard on the radio at Massachusetts Avenue side of Symphony 99.5 WCRB. Saturday-night concerts are Hall (orchestra level), and in the Cohen Wing broadcast live at 8 p.m. with host Ron Della during Pops concerts. There you will find the Chiesa, and encore broadcasts are aired on latest information on performances, mem- Monday nights at 8 p.m. In addition, inter- bership, and Symphony Hall, all provided

12 by knowledgeable members of the Boston The Walden Chamber Players, whose mem- Symphony Association of Volunteers. The bership includes BSO violinists Tatiana Dim- BSO Information Stand is staffed before each itriades and Alexander Velinzon and bas- concert and during intermission. soonist Richard Ranti, celebrate the ensemble’s 20th anniversary with a gala concert on Sunday, June 4, at 4 p.m. at Wilson Chapel, BSO Members in Concert 210 Herrick Road, Newton Centre, to be fol- BSO bass trombone James Markey and the lowed by a catered reception. Tickets at $50 Boston Cello Quartet—BSO cellists Blaise for adults, $20 for students (children under Déjardin, Adam Esbensen, Mihail Jojatu, and twelve free) are available at the door or at Alexandre Lecarme—participate in a joint waldenchamberplayers.org. For more infor- concert of the New England Conservatory mation, email info@waldenchamberplayers. Cello Choir, Preparatory Trombone Choir, org or call (617) 871-9WCP [-9927]. and Youth Brass Ensemble on Sunday, May 7, at 8 p.m. in NEC’s Jordan Hall. Admission is free. Those Electronic Devices… As the presence of smartphones, tablets, BSO associate concertmaster Alexander and other electronic devices used for com- Velinzon is soloist in Brahms’s Violin Con- munication, note-taking, and photography certo with the New Philharmonia Orchestra has increased, there have also been continu- on Saturday, May 20, at 8 p.m. and Sunday, ing expressions of concern from concertgoers May 21, at 3 p.m. at the First Baptist Church, and musicians who find themselves distracted 848 Beacon Street, Newton Centre. Also not only by the illuminated screens on these on the program is Elgar’s Enigma Variations. devices, but also by the physical movements Tickets are $48 and $37 (discounts for that accompany their use. For this reason, seniors, students, and families). For more and as a courtesy both to those on stage and information, or to order tickets, call (617) those around you, we respectfully request 527-9717 or visit newphil.org. that all such electronic devices be completely BSO string players Sheila Fiekowsky, Daniel turned off and kept from view while BSO per- Getz, Oliver Aldort, and Edwin Barker join formances are in progress. In addition, please flutist Linda Toote and clarinetist Catherine also keep in mind that taking pictures of the Hudgins to perform Jennifer Higdon’s Solil- orchestra—whether photographs or videos— oquy for clarinet and string quartet, Barber’s is prohibited during concerts. Thank you very String Quartet, Opus 11, Dvoˇrák’s Terzetto in much for your cooperation. C, Opus 74, Jerod Impichchaachaaha’ Tate’s Toklo (Two) for American Indian flute and clarinet, and Golijov’s Lullaby and Doina. The Comings and Goings... program will be performed twice, first on Please note that latecomers will be seated Friday, May 26, at 6 p.m. on the second floor by the patron service staff during the first of the 1854 Town Hall, a National Historic convenient pause in the program. In addition, Register building, in a performance to bene- please also note that patrons who leave the fit the West Stockbridge Historical Society. auditorium during the performance will not Seating is limited. Tickets at $35 can be be allowed to reenter until the next conve- reserved at [email protected] nientpause in the program, so as not to dis- or purchased from local West Stockbridge turb the performers or other audience mem- merchants after April 28. A second perform- bers while the music is in progress. We thank ance will be held at the Lutheran Church of you for your cooperation in this matter. the Newtons, Newton Centre, on Thursday, June 4, at 7 p.m. Tickets ($25 adults, $10 students) are available at www.newton- lutherans.org.

week 25 bso news 13

on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by Leonard Bernstein, Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 25 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in February 2018 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GHO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famedGewandhaus), Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for

16 Hamlet, and which won the 2017 Grammy for Best Orchestral Performance—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. In August 2016, their disc of Shostakovich’s Symphony No. 10 won Gramophone Magazine’s Orchestral Award. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting the BSO, recorded live during performances at Symphony Hall in November 2016.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig.

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

week 25 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

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

week 25 boston symphony orchestra 19 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

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When the Shadow Fell: Shostakovich’s Re-inventive Art by Thomas May

In the final weeks of the BSO’s 2016-17 season, Andris Nelsons conducts the orchestra in Shostakovich’s Symphony No. 6 (1939) and his incidental music for Soviet director Grigori Kozintsev’s 1941 stage production of Shakespeare’s “King Lear.” Writer-lecturer Thomas May examines the composer’s music—including his rarely heard music for stage and screen—in the context of his laboring under the shadow of Soviet dictator Joseph Stalin.

On January 28, 1936, Pravda published what arguably ranks as the most notorious music review of the 20th century. “From the first moment, listeners are flabbergasted by the intentionally dissonant, confused stream of sounds.... It is hard to follow this ‘music’; to remember it is impossible.” Thus ran the verdict on Dmitri Shostakovich’s hit opera Lady Macbeth of the Mtsensk District. The official Soviet newspaper’s critique, cast in the form of an anonymous editorial—plausibly dictated by Stalin himself—included the stern admonition: “It is a game of clever ingenuity that may end very badly.”

Stalin’s shadow fell fast over the Soviet Union’s most celebrated composer. In one fell swoop, this denunciation of the twenty-nine-year-old Shostakovich redefined his public standing. (And to hammer home the situation, this was followed soon after by a lesser- known attack on his ballet score The Bright Stream.) The already famous composer had first come to widespread notice a decade before with the success of his First Symphony, written as a graduation exercise from the conservatory of his native St. Petersburg and soon taken up by the likes of Bruno Walter (who conducted it in Berlin in 1928).

Dmitri Shostakovich in 1950

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The “Pravda” article of January 28, 1936, denouncing Shostakovich’s opera “Lady Macbeth of Mtsensk”

Despite several mixed successes and outright failures—his first full opera, the Gogol- inspired, absurdist farce The Nose (1928), earned nasty reviews from the official proletarian critics—Shostakovich had been described by a New York Times correspondent who was allowed to interview him at his home in 1931 as “on the way to becoming a kind of composer-laureate to the Soviet state.” He had risen to the level of a “model young Soviet composer,” as biographer Laurel E. Fay describes it, adding that he was “candid about the influence” on him of major avant-garde figures from the West (for example, Schoenberg, Stravinsky, and Alban Berg). But now, suddenly, his aesthetic outlook was condemned by the all-purpose charge of “formalism”—essentially, art that challenged the comfort zone of the State-approved criteria for “socialist realism.” Shostakovich was “in an untenable position,” Fay observes. “The idealistic vision of a Soviet music informed by cosmopolitan sophistication was no longer viable.”

Pravda’s pan had an immediate effect, of course. Lady Macbeth had already been running for two years and was an international smash. It could be seen in multiple productions in Leningrad and Moscow, each distinguished by playing up a different aspect of the opera’s sordid tale of lust, murder, and betrayal (showing sympathy for the degraded heroine on the one hand, accenting its tone of vicious satire on the other). But the productions were swiftly closed and Lady Macbeth was silenced; Shostakovich, at the time the Soviet Union’s most brilliant and innovative composer writing for the theater, never completed another new opera.

In fact, from that point on, Shostakovich would channel his creative drive principally into the symphonies and chamber music for which he remains best-known to the general public. Even seasoned concertgoers accustomed to experiencing this composer year

week 25 shostakovich’s re-inventive art 23 after year in the symphonic and chamber repertory might be surprised by the extent of Shostakovich’s preoccupation with writing for the stage and screen when he launched his career—the great majority of these works having fallen into oblivion, and some in a state requiring painstaking reconstruction.

“By contrast with his music of later years, his output through to the first half of the 1930s was dominated by drama of different kinds,” notes the composer-musicologist Gerard McBurney. Just a few years ago saw the belated premiere of a half-hour fragment McBurney reconstructed from the composer’s papers: the prelude to Shostakovich’s third projected full-length opera, Orango, from around the time of Lady Macbeth. Orango’s story of a human-ape hybrid mixes sci-fi grotesquerie with savage political parody. “It reappears now as a ghost from a lost era,” writes McBurney, “the work of a young composer of the utmost energy and brilliance, not yet cast down by history, ill-health, and politics, and in every new piece that he embarked on striving for brilliance, theatricality, and coruscating satire.”

Shostakovich had collaborated widely with leading artistic figures in other disciplines— many of whom also fell precipitously from grace and became victims of Stalin’s terror— and his omnivorous curiosity had led him to experiment boldly. He mustered a salma- gundi of styles and forms in the 1920s and early 1930s with the carefree attitude that looks ahead to the spirit of free-for-all boundary-crossing seen with so many of today’s emerging composers. Along with the three operas referred to above, Shostako vich had

24 written three full ballets, a half-dozen scores of incidental music for staged productions (including for Hamlet), an unclassifiable music hall entertainment Hypothetically( Murdered), and film scores, beginning with the silent filmThe New Babylon (1929), about the Paris Commune of 1871. This was the composer’s first of many collaborations with Grigori Kozintsev (1905-1973), who would become a highly influential theater and film director and a friend of Shostakovich. The latter would go on to compose for almost all of his films—including his versions ofHamlet and King Lear. “I could not direct my Shakespearean films without [his music],” Kozintsev later remarked. “In Shostakovich’s music I hear a virulent hatred of cruelty, of the cult of power, of the persecution of truth.”

There’s no question that the impact of the Pravda attack—a major salvo in Stalin’s program of social engineering of artists—reverberated across Shostakovich’s career. It set the pattern to follow, for which the stakes were not mere success but survival: the composer had to learn to navigate the arbitrary whims of Soviet policy without committing artistic suicide. Therein lies the core of the Shostakovich controversy that continues to be heatedly debated decades after his death and after the collapse of the Soviet Union.

Was Shostakovich a true believer in the Socialist experiment or a servile opportunist who cynically transformed his style to regain approval? Or did he encode a hidden dissident commentary that was partially recognized by those close to him and that is still coming to light? Is the presence of a signature dark irony throughout his music a form of protest that undermines such surface affirmations as the conclusions to the Fifth (1937) and Seventh (1941) symphonies—conclusions so exaggerated that only gullible ears could be persuaded by their yea-saying? “Victory” here, as elsewhere in Shostakovich’s oeuvre, leaves unsettling questions no matter how decisively it is proclaimed.

As Wendy Lesser writes in Music for Silenced Voices, her biography through the lens of the composer’s string quartets, Shostakovich “was often dubious and often divided.” In the context of life in the Soviet Union, above all until Stalin’s death in 1953, “people learned to speak in code, but the codes themselves were ambiguous and incomplete. Nothing that emerged from that world...can be taken at face value.”

The standard narrative has been to view the Pravda attack as a kind of Iron Curtain in Shostakovich’s career dividing the wildly experimental early years from the period in which he took on the solemn mantle of an artist of the people—the artist whose Symphony No. 7 (Leningrad), written when his native Leningrad was under siege by the Nazis, bolstered Shostakovich’s position as a cherished hero. Yet as with everything related to this composer, things are never so straightforward. It wasn't long before the challenges to convention posed by the dark, even nihilistic Eighth Symphony sufficedto have the work singled out as Exhibit A when the composer was once again denounced in 1948—this time for the sins of “pessimism” and overcomplicated “individualism.”

Shostakovich’s later focus on the more “abstract” genres of the symphony and string quartet instead of the stage may have been partially motivated as a survival strategy, but in fact he never entirely abandoned the theater. Along with an operetta, a thor-

week 25 shostakovich’s re-inventive art 25 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

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A 1943 image of Joseph Stalin (1878-1953)

ough revision of Lady Macbeth (renamed Katerina Izmailova), and orchestrations of Mussorgsky’s operas, Shostakovich frequently contemplated potential opera topics, from Tolstoy’s Resurrection to Chekhov’s short story The Black Monk. According to his friend and correspondent Isaak Glikman, the composer asked him to write a libretto to “any of Shakespeare’s plays (except Othello).” (Shostakovich’s obsession with The Black Monk is the focus of a multimedia Tanglewood presentation on July 19 featuring the Emerson Quartet with an ensemble of seven actors.)

Nor did he abandon the practices of his subversive early years. McBurney points out that the habits Shostakovich adopted, during that period, of recycling material from one project for another, and of rapidly tailoring his scores to the specific needs of his collaborators, taught the composer valuable lessons about the flexibility of musical meaning. A notable result was “his cool-headed grasp of the way the same music could bear different meanings in different contexts”—a key to the pervasive use of quotations throughout his oeuvre.

Similarly, the varieties of humor—through irony, parody, juxtaposition, puns, and the like—that teem in his music for the stage continue to inform the symphonies and string quartets, imbuing them with drama albeit in purely musical terms. “People (and they include many serious musicians) who object to Shostakovich’s ironic sardonic mode often act as if such attitudes are incompatible with deep feelings and tragic awareness, Mahler’s No. 4 or Mozart’s No. 40? as if one couldn’t be funny and serious at the same time,” writes Lesser. She then suggests taking “a close look at Shakespeare...particularly Hamlet.” At Fairmont Copley Plaza, we appreciate Indeed, Hamlet recurs like a leitmotif across the career of a composer who himself all our guests’ preferences. seemed to embody the paradoxical traits of Shakespeare’s tragic hero, not least with his mingled melancholy and antic humor. One critic wrote of the “Hamlet-like musings” of the Fifth Symphony. Shostakovich actually produced his first musical response to its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the play in 1932, for a highly eccentric stage production at Moscow’s Vakhtangov www.fairmont.com/copley-plaza-boston week 25 shostakovich’s re-inventive art 27

Theater directed by Nikolai Akimov (1901-1968). Known in part for his iconoclastic revisions of the classics, for which the maverick director Vsevolod Meyerhold (another of Shostakovich’s collaborators) had set a notable precedent, Akimov staged a provoc- atively distorted Hamlet in which the prince is an obese manipulator who covets the throne and conjures a fake ghost, Ophelia does her mad scene as a lush, and Claudius, by contrast, comes off as fairly decent.

Ironically, Shostakovich had just published a manifesto detailing his frustration with the compromises of writing for stage and screen, declaring his intention to take a moratori- um from such commissions for five years. However reluctant he may have been to fulfill the Hamlet commission, the vibrant, inventive score he wrote was the highlight of the show, which proved to be a legendary flop, distinctly out of joint with the times.

As Elizabeth Wilson documents, the orchestra’s leader, violinist Yuri Elagin, recalled that the music “was exceptional in its originality and innovation. It was much closer to Shakespeare’s Hamlet than anything else in Akimov’s production” even though the score itself featured “moments of great eccentricity...that were in the style of the production.” McBurney singles out Shostakovich’s Hamlet as “probably his most brilliant and fully achieved instrumental music, funny and touching, sharp-edged and memorable.” Shostakovich himself liked it enough to fashion a thirteen-movement concert suite.

Grigori Kozintsev later enlisted Shostakovich for a stage production of Hamlet (1954) as well as for his extraordinary film version of 1964. So, too, withKing Lear, for which the composer wrote both incidental music to a stage production and the score for Kozintsev’s 1971 film. Earlier the pair had undertaken their first attempt together to grapple with King Lear. This was for a staging at the Bolshoi in Leningrad in 1941—a time when Shostakovich was in good graces with the authorities, having garnered the Stalin Prize earlier that year for his Piano Quintet. McBurney suggests that—in contrast to the sardonic stage music for the 1932 Hamlet—the work on King Lear “perhaps reflect[ed] Shostakovich’s recent experience of reorchestrating Musorgsky’s epic opera Boris Godunov.”

Laurel Fay notes the significant challenge the great Shakespeare tragedies posed for Shostakovich, who once wrote: “From the poetry and dynamics of these tragedies music is born.... The author of Hamlet and King Lear absolutely does not tolerate banality.” Fay adds that the composer found himself particularly intrigued by the character of the Fool, in whom he may well have seen a reflection. Shostakovich himself observed: “The Fool illuminates the gigantic figure of Lear.... The Fool’s wit is prickly and sarcastic, his humor magnificently clever and black. The Fool is very complicated, paradoxical, and contradictory. Everything he does is unexpected, original, and always wise.” thomas may writes about the arts, lectures about music and theater, and blogs at memeteria.com.

week 25 shostakovich’s re-inventive art 29 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, May 4, 8pm | the john f. cogan, jr., and mary l. cornille concert Friday, May 5, 1:30pm | the gilbert family concert Saturday, May 6, 8pm | the john and diddy cullinane concert

andris nelsons conducting

shostakovich excerpts from incidental music to “king lear,” opus 58a Introduction and Cordelia’s Ballad william r. hudgins, clarinet Fanfare 1 Returning from the Hunt Fanfare 4 The Approach of the Storm Scene on the Steppe Fanfare 2 Gloucester’s Blinding Military Camp Fanfare 5 March

Please note that the performances of Shostakovich’s music for “King Lear” are being recorded for future release as part of the ongoing BSO/Deutsche Grammophon collaboration “Shostakovich Under Stalin’s Shadow.” Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated. Marco Borggreve

30 rachmaninoff piano concerto no. 4 in g minor, opus 40 Allegro vivace Largo Allegro vivace leif ove andsnes

{intermission} mahler symphony no. 4 in g Bedächtig. Nicht eilen [Deliberately. Do not hurry] In gemächlicher Bewegung. Ohne Hast [With easygoing motion. Without haste] Ruhevoll (Poco adagio) [Serene (Somewhat slow)] Sehr behaglich [Very comfortably] kristine opolais, soprano Text and translation begin on page 60. friday afternoon’s performance of excerpts from shostakovich’s incidental music to “king lear” is supported by a gift from barbara s. and frederic m. clifford. friday afternoon’s performance of rachmaninoff’s piano concerto no. 4 is supported by a gift from benjamin schore and katherine duff rines. saturday evening’s performance of mahler’s symphony no. 4 is supported by a gift from anne and blake ireland. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:15 and the afternoon concert about 3:45. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 25 program 31 The Program in Brief...

Though it is his symphonies and string quartets that audiences encounter most frequently, music for stage productions and films figured in Shostakovich’s output throughout his career (see Thomas May’s article elsewhere in this program book). Last season, BSO audiences heard music from the composer’s incidental music for a notorious 1932 Moscow staging of Shakespeare’s Hamlet. Later he would create music for a 1954 stage production of Hamlet, and for film versions of bothHamlet (1964) and King Lear (1971)—both those films being directed by Grigori Kozintsev, for whose 1941 Leningrad staging of King Lear he composed the music that opens this week’s program. Despite their brevity, each excerpt impresses by its precision, concision, ingenuity, and dramatic propriety, whether in the majestic foreboding of the introduction (whose dark mood is recalled at several later points), the poignant tones of Ophelia’s ballad (“sung” here by solo clarinet), the spiky, interspersed brass-and-drum fanfares, the sardonic bassoon duet in the Scene on the Steppe, or the curtly utilitarian closing march.

Of Rachmaninoff’s four piano concertos, it is of course the Second (1901) and Third (1909) that audiences flock to hear; the First (1891; revised 1917) and Fourth turn up but rarely. In fact, the BSO has played the Fourth on just two previous occasions, in January 2002 and November 2006. Though he apparently made sketches for the Fourth soon after reworking the First Concerto in 1917, Rachmaninoff completed it only in 1926, revised it in 1928, and made final revisions only in 1941, when he performed and recorded it with Eugene Ormandy and the Philadelphia Orchestra. Most likely its failure to gain currency stems from its focus on subtle shifts of atmosphere, color, and texture, rather than the more immediately engrossing romantic expansiveness that so strongly characterizes the Second and Third. But there is poetry here too, to be heard as much in the Fourth Concerto’s engagingly varied palette as in the interactions of soloist and orchestra.

Years after writing his Symphony No. 4, Mahler famously stated that for him, the idea of “symphony” encompassed the entire world. Completed in 1901, the Fourth is the last of his three Wunderhorn symphonies—so-called for their use of texts from the German folk-poetry collection Des Knaben Wunderhorn (Youth’s Magic Horn). Here Mahler takes us on a journey beginning with the sound of earthly sleigh bells and moving ultimately through the gloriously unfolding third-movement variations that lead us to the finale’s winsome depiction in song of “Life in Heaven.” Throughout this symphony, Mahler’s use of his large orchestra is strikingly airy, kaleidoscopic, even chamber-musical, rarely calling for the entire ensemble to play simultaneously at full volume. The initial tempo markings for each movement—“Do not hurry”; “Without haste”; “Serene”; “Very comfortably”—also say much about his overall conception. “There is just no music on earth that can compare to ours [in Heaven],” the text tells us shortly before the end. One of Mahler’s extraordinary achievements in his Fourth Symphony is to let us experience that here and now, while we are still on earth.

Marc Mandel

32 Dmitri Shostakovich Excerpts from Incidental Music to “King Lear,” Opus 58a

DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. The incidental music for William Shakespeare’s “King Lear” was composed in January and February of 1940 for a production directed by Grigori Kozintsev that opened on March 24, 1941, at the Bolshoi Drama Theater in Leningrad. These are the first performances of this music by the Boston Symphony Orchestra.

THE ORCHESTRA FOR THE INCIDENTAL MUSIC TO “KING LEAR” calls for piccolo, flute, oboe, clarinet, two bassoons, two horns, two trumpets, trombone, tuba, timpani, triangle, wood block, snare drum, drum, cymbals, bass drum, tam-tam, piano, and strings.

Dmitri Shostakovich revered the work of William Shakespeare—but then so do most Russians. Alexander Pushkin, Russia’s most celebrated author, called Shakespeare “our father” and used his dramas as a model for his own, including the historical tragedy Boris Godunov, later transformed into an opera by Modest Mussorgsky. Numerous other Russian creative artists, among them Tchaikovsky, Turgenev, and Chekhov, also found in Shakespeare’s plays not only unforgettable multi-dimensional characters, but absorbing and uncomfortably relevant philosophical and moral dilemmas. Boris Pasternak, the Nobel-Prize winning author of Doctor Zhivago, spent years translating Shakespeare’s works for a hungry Soviet reading public during the dark Stalin years.

Shostakovich’s own ideologically loaded dialogue with Shakespeare extended throughout his entire career, from 1932 to 1970, resulting in several major scores. These include incidental music for stage productions of Hamlet and King Lear; scores for film versions of those same two plays; a setting of Sonnet No. 66; and several songs inspired by Shakespeare’s characters. Like other Soviet artists, Shostakovich was drawn to Shake- speare’s texts and characters—accepted as “masterpieces” even by the suspicious and censorious Soviet regime—in part because they allowed him to address themes for- bidden under the constraints of the official doctrine of Socialist Realism: the inevitable

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alienation of the artist from society and government, the incompatibility of official and personal truth, the struggle between thought and action, and the destructive influence of unchecked political power. In Tsarist Russia and in the USSR, Shakespeare’s plays had traditionally been used “to confront and critique the government,” writes scholar Tiffany Conroy. The tragedies Hamlet and King Lear always enjoyed particular popularity because they dealt with themes all too familiar from Russian history—dirty dealings at the summit of power, and problems of succession from one ruler to the next.

Shostakovich composed his first Shakespearean music for a zany non-traditional Hamlet (with Ophelia as a drunk) staged by Nikolai Akimov in Moscow in 1932. In 1940, Grigori Kozintsev asked Shostakovich to compose incidental music for a new production of King Lear he was directing at Leningrad’s prestigious Bolshoi Drama Theater (BDT). An esteemed stage and film director, Kozintsev (1905-1973) and his partner Leonid Trauberg had already collaborated successfully with Shostakovich on five films (New Babylon, Alone, and the Maxim trilogy). Kozintsev and Shostakovich had both begun their careers in the free-wheeling avant-garde atmosphere of the 1920s, but had managed, though not without some difficulty, to flourish in the much more restrictive climate that developed under Stalin’s rule in the 1930s.

In an article published in the program for the BDT production of King Lear, Shostakovich expounded on his approach to composing incidental music for this very well-known drama, the cautionary tale of a proud and aging king who divides his kingdom among his three daughters, Goneril, Regan, and Cordelia, with disastrous results. Writing music for Shakespeare’s plays is challenging. The author of Hamlet and King Lear has absolutely no patience for banality. Petty emotions will not suffice for him. We often speak of Shakespeare’s enormous range, but it seems to me that we should focus on the inner depth and breadth, not superficial trappings and pomp. The image of the Fool in King Lear excites and disturbs me. Without him the tragedy of Lear

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36 Shostakovich with Grigori Kozintsev during recording sessions for the soundtrack to Kozintsev’s 1971 film version of “King Lear”

and Cordelia could not resonate with such tremendous force. The Fool illuminates the dominant figure of Lear, so finding the right musical characterization for him is extraordinarily difficult. Of course it is no less difficult to show in music—and especially within the limitations of a theatrical production—the full horror of the slow and painful death of the unfor- tunate king’s illusions. Every encounter with Shakespeare stimulates thoughts that go far beyond the limits of the small task at hand. As various musical possibilities emerge, one hopes someday to capture and bring to life Shakespeare’s essence.

In finding the right music forLear , Shostakovich could not have hoped for a better or more enthusiastic partner. An erudite director-scholar, Kozintsev was so inspired by his work on the production that he wrote a long essay for the Soviet magazine Theatre regarded today as a seminal text. Lear’s tragedy, Kozintsev writes, “is more than that of an old father who has ungrateful daughters. The whole edifice of his royal grandeur proved flimsy, like any power that takes its strength from oppression and fear and har- kens only to flattery.” This cogent description of Lear’s court could easily have been applied, of course, to the sycophantic “Red Court” surrounding the tyrant Josef Stalin, who had been ruling the USSR for thirteen years—a fact not lost on many members of the Soviet audience.

In his incidental music, scored for full orchestra with a prominent piano part, Shostakov- ich pays special attention to the Fool. The score’s longest section (about nine minutes out of twenty-six) is “Ten Songs of the Fool,” scored for various orchestral ensembles and baritone, with lyrics adapted by the children’s writer Samuil Marshak. (This section is omitted from the present performances.) Shostakovich’s keen interest in King Lear was fueled by his simultaneous work on a new orchestration of Boris Godunov that he had been preparing in 1939-40. Mussorgsky’s opera tells a woeful story of hubris and civil war quite similar to Lear and features a crucial role for a yurodivy, a holy fool in the Russian Orthodox tradition. That Shostakovich gave the same opus number to his Boris orchestration (Opus 58) and the Lear music (Opus 58a) reflects their musical and dramatic kinship.

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Shostakovich makes no attempt to imitate the musical style or instrumentation of the Shakespearean era. The heavy orchestration makes prominent use of the percussive “modern” quality of the piano, and of the mournful sound of two bassoons, especially in an extended bassoon duet for Lear’s despairing “Scene on the Steppe.” In the opening section, Shostakovich uses a highly rhythmic, dirge-like figure to set the mood; this ominous motif will return elsewhere in Shostakovich’s score, including the music for the finale of Act I. A folksy ballad sung by Cordelia (to an added text) follows the introduction (the vocal line is taken by clarinet in these concerts). Unusual sound effects are also employed for dramatic effect, notably in the “Scene on the Steppe,” where the entire string section plays “col legno”—striking the strings with the wood of the bow. The large percussion section stays busy throughout, especially the timpani, pounding insistently in triplets in “The Blinding of Gloucester.” Only in the final March, as uneasy order is finally restored to the kingdom after Lear’s death, does the harmonic texture lighten to a rather hollow and ironic C major.

Kozintsev’s production opened on March 24, 1941, just three months before the cata- strophic Nazi invasion of the USSR. During World War II, numerous other Soviet the- aters staged Lear; the play’s theme of arrogant leadership leading to utter destruction and suffering had become sadly relevant. In 1970, an ailing Shostakovich returned to King Lear, producing the score (his Opus 137) for a film version also directed by Kozintsev, one of the most successful screen adaptations of Shakespeare’s tragedy.

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

week 25 program notes 39

Sergei Rachmaninoff Piano Concerto No. 4 in G minor, Opus 40

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He completed his Fourth Piano Concerto originally in 1926 and was soloist for the first performance no March 18, 1927, in Philadelphia, with Leopold Stokowski conducting the Philadelphia Orchestra. Rachmaninoff revised the concerto during the following summer; it was first published in this revised form in 1928. He made more extensive revisions to the score in the summer of 1941, and recorded it in this final version in December 1941 with Eugene Ormandy and the Philadelphia Orchestra; this was the last time that he performed the work.

IN ADDITION TO THE SOLO PIANO, the score calls for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, tambourine, triangle, and strings.

Early success and recognition can be hard on a composer. Just consider the case of Sergei Rachmaninoff. When the melancholic and taciturn Rachmaninoff, not yet thirty years old, played the solo part of his Piano Concerto No. 2 at its Moscow premiere in late 1901, he was hailed as the great new hope of Russian music, heir to Tchaikovsky and the Romantic tradition. With the Second Symphony, completed in 1907, and the Third Piano Concerto, completed in 1909, he further solidified his reputation, and seemed destined for even greater creative triumphs.

But Rachmaninoff’s production rate slowed drastically over the following years, owing to a combination of personal factors (he suffered from at times nearly crippling self- doubt) and external political ones (primarily the Bolshevik Revolution of 1917). Although he lived for thirty-four more years after completing the Third Piano Concerto, he finished only four more major orchestral scores: the Fourth Piano Concerto, the Rhapsody on a Theme of Paganini, the Third Symphony and the Symphonic Dances. All four were given their premieres by the Philadelphia Orchestra, with whose longtime conductor, Leopold Stokowski, Rachmaninoff developed a close artistic partnership.

week 25 program notes 41 Program page for the first Boston Symphony performances of Rachmaninoff’s Piano Concerto No. 4 on January 24, 25, and 26, 2002, with soloist Garrick Ohlsson under the direction of Jun Märkl (BSO Archives)

42 After leaving Russia permanently in late 1917, Rachmaninoff made his living as a virtuoso pianist in Europe and the United States. Eventually he settled in America, like so many other Russian musical refugees, but the notoriously dour and phlegmatic composer had trouble adjusting to American life. Despite countless triumphant coast-to-coast tours as a pianist-conductor-composer that brought him renown, adulation, and suf- ficient money to purchase a home in Beverly Hills, he could never completely adapt to the materialistic style and competitive pace of the brash, booming country he once haughtily dismissed as “The Dollar Princess.”

The creative genesis of the Fourth Piano Concerto was unusually prolonged. A news item stating that the composer was planning a new concerto appeared in a magazine in April 1914, but the outbreak of World War I and the resulting chaos in Russia distracted Rachmaninoff. For the next ten years, in a variety of locales, he seems to have continued toying with the sketches for the new concerto, but in a rather desultory fashion. Only in 1924, prodded by his old friend the pianist Nikolai Medtner, did Rachmaninoff get down to more systematic work, finally completing concerto, which he dedicated to Medtner, in New York and Dresden in 1926.

In a letter to Medtner written from Cannes on September 9, 1926, Rachmaninoff expressed doubts about the new work: When I took a look at its size (110 pages), I was horrified! I still have not been brave enough to figure out how much time it takes to perform. Perhaps it will have to be given like Wagner’s Ring cycle, over the course of several consecutive evenings. And then I remembered my discussions with you about the problem of going on too long, and the need to be concise, to be brief and not to give in to ‘wordiness.’ And I felt ashamed! Clearly, the third movement is the biggest problem. I have piled up so much stuff there! I’ve already started to look for possible cuts. I have already found one, but only eight measures, and it’s in the first movement, whose length doesn’t scare me. Besides that, I have noticed in passing that the orchestra is almost never silent,

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which seems to me a big failing. It’s less like a Concerto for Piano and more like a Concerto for Piano and Orchestra. I have also noticed that the second movement theme is the same as the theme of the first movement of Schumann’s Concerto. Why didn’t you tell me this?

In a long reply, Medtner disagreed with Rachmaninoff’s harsh self-criticism: “On the con- trary, I was amazed that the concerto has so few pages in view of its significance.” And in fact, at about twenty-eight minutes (in final form), the Fourth Concerto is considerably shorter than the Second (about thirty-five minutes) or the Third (about forty-five).

The premiere of the Fourth Concerto, Rachmaninoff’s first new orchestral orkw in more than a decade, was greeted with lukewarm reviews. In the Herald Tribune, Lawrence Gilman called it “essentially nineteenth century.” Apparently stung by the criticism, and uncertain about the piece himself, Rachmaninoff undertook a major revision the following summer, cutting a total of 114 bars and rewriting the first twelve pages. Rach- maninoff toured with this new version in 1929 and 1930, but remained dissatisfied, and shelved the work until the summer of 1941, when he undertook another, more thorough, revision. This time he concentrated on the problematic third movement, removing more than forty measures and attempting to strengthen and clarify its structure.

While it is difficult to argue that the Fourth Concerto consistently reaches the same heights of inspiration as the incomparable Third, it contains many wonderful moments. Several of the Fourth’s themes, including the first movement’s climbing, somewhat discursive first theme in heavy chords, were taken from anétude-tableau that Rach- maninoff left out of the six Opus 33 Études-Tableaux published in 1914. One unusual feature of the first movement is that its two themes appear in reverse order in the reca- pitulation. Another is that the movement seems to conclude twice, first with a climactic passage of furiously repeated chords in the piano (a Tempo rubato) at the end of the

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It is the second-movement Largo that has drawn the most attention from critics and musicologists. The piano enters solo for the first five measures, playing what sounds something like the opening phrase from the song “As Time Goes By” made famous in the filmCasablanca . Then the violins enter with the main theme, growing from a descending repeated motif of three notes that sounds disarmingly (as was pointed out after the London premiere) like the beginning of the children’s ditty “Three Blind Mice.” The rest of the slow movement uses this rather modest melodic material as the basis for ingenious variations, with the piano and orchestra sharing the spotlight rather than competing for it. Notably, the Fourth Concerto does not contain a single cadenza and is much less “showy” for the soloist than either the Third or Second, making it a challenge of subtlety rather than force.

Rachmaninoff agonized most over the last movement, which he repeatedly revised and rearranged, though without changing the basic musical material. Its two themes seem restrained and reticent when compared to some of the soaring melodies of his early orchestral music, but they are effectively set among fanfares with extra percussion. The second theme is derived from the Dies irae theme to which Rachmaninoff turned repeatedly in his career. Just before the end, the climax from the first movement reappears, to lend the concerto a feeling of cyclic form, a sense of emotional return to familiar turf after the preceding musical journey.

Harlow Robinson

THE FIRST AMERICAN PERFORMANCE—ALSO THE WORLD PREMIERE—OF RACHMANINOFF’S PIANO CONCERTO NO. 4 took place on March 18, 1927, in Philadelphia, with the composer as soloist and Leopold Stokowski conducting the Philadelphia Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Rachmaninoff’s Piano Concerto No. 4 took place on January 24, 25, and 26, 2002, with soloist Garrick Ohlsson and conductor Jun Märkl. The only BSO performances since then were on November 24, 25, and 28, 2006, with soloist Yefim Bronfman and conductor Rafael Frühbeck de Burgos.

week 25 program notes 47

Gustav Mahler Symphony No. 4 in G

GUSTAV MAHLER was born in Kalischt (Kalistˇ e)ˇ near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. Except for the finale, which was composed as a song with piano accompaniment in February 1892, he wrote his Fourth Symphony between June 1899 and April 1901. He continued, however, on the basis of his experience conducting the work, to tinker with the orchestration. The score published in 1963 by the International Gustav Mahler Society, Vienna, incorporates the composer’s final revisions, made after the last performances he conducted with the New York Philharmonic in January 1911. Mahler led the first performance of the work on November 25, 1901, with the Kaim Orchestra of Munich; the soprano was Margarete Michalek.

THE SCORE OF MAHLER’S SYMPHONY NO. 4 calls for an orchestra of four flutes (third and fourth doubling piccolo), three oboes (third doubling English horn), three clarinets (second doubling E-flat clarinet, third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, timpani, bass drum, triangle, sleigh bells, glockenspiel, cymbals, tam-tam, harp, and strings, plus solo soprano.

Many a love affair with Mahler has begun with the sunlit Fourth Symphony. Mahler himself thought of it as a work whose transparency, relative brevity, and non-aggressive stance might win him new friends. In the event, it enraged most of its first hearers. Mu n ich hated it, and so did most of the German ci t ies—Stuttgart being, for some reason, the ex cep tion—where Felix Wein gart ner took it on tour with the Kaim Or chestra immediately after the premiere. In a letter of September 1903, Mahler refers to it as “this persecuted step child.” It at last made the im pres sion he had hoped for at a concert he conducted in October 1904 with the Concertgebouw Orchestra in Amster dam (the program: Mahler Fourth—intermission—Mahler Fourth).

The very qualities Mahler had banked on were the ones that annoyed. The bells, real and imitated (in flutes), with which the music begins! And that chawbacon tune in the violins! What in heaven’s name was the composer of the Resurrection Symphony up to

week 25 program notes 49 Program page for the first complete Boston Symphony performances of Mahler’s Symphony No. 4 on March 23 and 24, 1945, conducted by Richard Burgin with soprano soloist Mona Paulee (BSO Archives)

50 with this newfound naiveté? Most of the answers proposed at the time were politicized, anti-Semitic, ugly. Today we perceive more clearly that what he was up to was writing a Mahler symphony, uncharacteristic only in its all but exclusive involvement with the sunny end of the expressive range. But naive? The violin tune, yes, is so popular in tone that we can hardly conceive that once upon a time it didn’t exist,* but it is also pianissimo, which is the first step toward subverting its rustic simplicity. Then Mahler marks accents on it in two places, both unexpected. The first phrase ends, and while clarinets and bassoons mark the beat, low strings suggest a surprising though charmingly appro- priate continuation. A horn interrupts them midphrase and itself has the very words taken out of its mouth by the bassoon. At that moment the cellos and basses assert them selves with a severe “as I was saying,” just as the violins chime in with their own upside-down thoughts on the continuation that the lower strings had suggested four bars earlier. The game of interruptions, resumptions, extensions, reconsiderations, and unexpected combinations continues—for example, when the violins try their first melody again, the cellos have figured out that it is possible to imitate it, lagging two beats behind (a discovery they proffer with utmost discretion, pianissimo and deadpan)—until bassoons and low strings call “time out,” and the cellos sing an ardent something that clearly declares “new key” and “second theme.”

“Turning cliché into event” is how Theodor W. Adorno characterized Mahler’s practice. Ideas lead to many different conclusions and can be ordered in so many ways: Mah ler’s master here is the Haydn of the London symphonies and string quartets of the 1790s. The scoring, too, rests on Mahler’s ability to apply an original and altogether personal fantasy to resources not in themselves extraordinary. Trombones and tuba are absent;

* As a matter of fact, Mahler’s biographer, Henry-Louis de La Grange, identifies allusions to two Schu- bert piano sonatas in this theme and in the one of the finale (respectively, the first movement of the sonata in E-flat, D.568, and the finale of the sonata in D, D.850).

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only the percussion is on the lavish side. Mahler plays with this orchestra as though with a kaleidoscope. He can write a brilliantly sonorous tutti, but he hardly ever does. What he likes better is to have the thread of discourse passed rapidly, wittily from in strument to instrument, section to section. He thinks polyphonically, but he enjoys the combining of textures and colors as much as the combining of themes. He values transparency, and his revisions, over ten years, of the Fourth Symphony are always and consistently in the direction of achieving a more aerated sound.

He could think of the most wonderful titles for the movements of this symphony, he wrote to a friend, but he refused “to betray them to the rabble of critics and listeners” who would then subject them to “their banal misunderstandings.” We do, however, have his name for the scherzo: “Freund Hein spielt auf” (“Death Strikes Up”).* Alma Mahler amplified that hint by writing that here “the composer was under the spell fo the self-portrait by Arnold Böcklin, in which Death fiddles into the painter’s ear while the latter sits entranced.” Death’s fiddle is tuned a whole tone high to make it harsher (the player is also instructed to make it sound like a country instrument and to enter “very aggressively”). Twice Mahler tempers these grotesqueries with a gentle Trio: Willem Mengel berg, the Amsterdam conductor, took detailed notes at Mahler’s 1904 rehearsals, and at this point he put into his score that “here, he leads us into a lovely landscape.” (Later, at the magical turn into D major, with the great harp chord and the violin glissandi crossing in opposite directions, Mengelberg wrote “noch schöner” [“still more beautiful”].)

The Adagio, which Mahler thought his finest slow movement, is a set of softly and gradually unfolding variations. It is rich in seductive melody, but the constant feature to which Mahler always returns is the tolling of the basses, piano under the pianissimo of the violas and cellos. The variations, twice interrupted by a leanly scored lament in the minor mode, become shorter, more diverse in character, more given to abrupt chang-

* “Freund Hein”—literally this could be rendered as “Friend Hal”—is a fairy-tale bogy whose name is most often a euphemism for Death.

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performanc ® sound for yourself. of their their of And our And s. e— he he e . es of outlook. They are also pulled more and more in the direction of E major, a key that dramatically asserts itself at the end of the movement in a blaze of sound. Working mir acles in harmony, pacing, and orchestral fabric, Mahler, pronouncing a benediction, brings us back to serene quiet on the very threshold of the original G major, but when the finale almost imperceptibly emerges, it is in E. Our entry into this region has been prepared, but it is well that the music sounds new, for Mahler means us to understand that now we are in heaven.

On February 6, 1892, Mahler had finished a song he called Das“ himmlische Leben” (“Life in Heaven”), one of five Humoresques on texts fromDes Knaben Wunderhorn (“The Boy’s Magic Horn”). Des Knaben Wunderhorn is a collection of German folk poetry, compiled in nationalistic and Romantic fervor just after 1800 by two poets in their twenties, Clemens Brentano and Achim von Arnim. That, at least, is what it pur- ports to be: in fact, the two poets indulged themselves freely in paraphrases, additions, and deletions, fixing things so as to give them a more antique and authentic ring, vene contributing poems all their own. However that may be, their collection, whose three volumes came out between 1805 and 1808, made a considerable impact, being widely read, discussed, criticized, and imitated.

A number of composers went to the Wunderhorn for texts,* none more often or more fruitfully than Mahler, who be gan to write Wund erhorn songs immediately after complet-

* The Brahms Lullaby must be the most famous of all Wunderhorn songs.

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week 25 program notes 55 ing the First Sym phony in 1888 (he had already borrowed a Wunderhorn poem as the foundation of the first of hisTraveling Wayfarer songs of 1884-85). The Wunderhorn then touches the Sec ond, Third, and Fourth sympho nies. The scherzo of No. 2 was com posed together and shares material with a setting of the poem about Saint Anthony of Padua’s sermon to the fishes, and the next movement is the song “Urlicht” (“Primal Light”). The Third Symphony’s fifth movement is anotherWunderhorn song, “Es sun- gen drei Engel” (“Three Angels Sang”), and until about a year before completing that symphony, Mahler meant to end it with “Das himmlische Leben,” the song we now know as the finale of the Fourth. That explains why the Third appears to “quote” the Fourth, twice in the minuet, and again in the “Drei Engel” song: those moments prepare for an event that was not, after all, allowed to occur (or that did not occur until five years and one symphony later).

For that matter, Mahler had to plan parts of the Fourth Symphony from the end back,

2017-18 Save the dates for our 2017-2018 season! SEPT. 22 & 24 From Russia with Love SCHNITTKE String Trio (1985) SHOSTAKOVICH Quartet No. 8 in C minor, Op. 110 TCHAIKOVSKY “Souvenir de Florence”, Op. 70 NOV. 17 & 19 Founding Fathers Salem HAYDN Quartet Op. 76 No. 4 “Sunrise” Friday Evenings at 8:00 HAYDN Quartet Op. 76 No. 2 in D minor, “Quinten” In Historic SCHOENBERG Quartet No. 2 for Strings & Soprano Op. 10 Hamilton Hall JAN. 5 & 7 Art of the String Quintet MOZART String Quintet No. 1 in B-flat, K.174 MOZART String Quintet No. 3 in C, K.515 Brookline BRAHMS String Quintet No. 2 in G, Op. 111 Sunday Afternoons MAR. 9 & 11 Giants of Romanticism at 3:00 In Beautiful SCHUMANN Quartet in A minor, Op. 41, No. 1 St. Paul’s Church BRAHMS Clarinet Quintet in B minor, Op. 115 Please note Hamilton Hall is a Registered National Historic Landmark and APR. 20 & 22 Finale & Premiere is not handicap accessible to the performance hall on the second floor. RAVEL Sonata for Violin & Cello WHEELER Sonata for Cello and Piano World Premiere You ™ DVORˇÁK Piano Trio in F minor, Op. 65 Are Hear BostonArtistsEnsemble.org

56 Title page from the first edition of Volume 1

so that the song would appear to be the outcome and conclusion of what was in fact com posed eight years after the song. From a late letter of Mahler’s to the Leipzig conductor Georg Göhler, we know how important it was to him that listeners clearly understand how the first three movements all point toward and are resolved in the finale. The music, though gloriously inventive in detail, is of utmost cleanness and simplicity. The solemn and archaic chords first heard at “Sanct Peter in Himmel sieht zu” (“Saint Peter in heav en looks on”) have a double meaning for Mahler; here they are associated with de tails about the domestic arrangements in this mystical, sweetly scurrile picture of heaven, but in the Third Symphony they belong with the bitter self-castigation at having transgressed the Ten Commandments and with the plea to God for forgiveness. Whether you are listening to the Fourth and remembering the Third, or the other way around, the reference is touching. It reminds us, as well, how much all of Mahler’s work is one work. Just as the symphony began with bells, so it ends with them—this time those wonderful, deep single harp-tones of which Mahler was the discoverer.

The poem is a Bavarian folk song called “Der Himmel hängt voll Geigen” (“Heaven is Hung With Violins”). About the text: Saint Luke’s symbol is a winged ox. Saint Martha, sister of Lazarus, is the patron saint of those engaged in service of the needy. (In life, Saint Luke tells us, she “was cumbered about much serving,” and it seems that nothing has changed for her in heaven.) On Saint Ursula and the eleven thousand virgins, I quote Donald Attwater’s indispensable Penguin Dictionary of Saints (Penguin Books, 1965): Ur sula, to avoid an unwanted marriage, departed with her company from the island of Britain, where her father was a king; on their way back from a visit to Rome, they

week 25 program notes 57 “ First Republic shares our passion for innovation and world-class performance.”

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(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender were slaughtered by Huns at Cologne on account of their Christian faith. During the twelfth century this pious romance was preposterously elaborated through the mis- takes of imaginative visionaries; a public burial-ground uncovered at Cologne was taken to be the grave of the martyrs, false relics came into circulation and forged epitaphs of non-existent persons were produced. The earliest reference which gives St. Ursula the first place speaks of her ten companions: how these eleven came to be multiplied by a thousand is a matter of speculation.

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 Mahler’s Symphony No. 4 was conducted by Walter Damrosch at a concert of the New York Symphony Society on November 6, 1904, with the soprano Etta de Montjau.

THE FIRST BOSTON SYMPHONY PERFORMANCES of music from Mahler’s Fourth Symphony were of just the third and fourth movements, on January 30 and 31 and February 5, 1942, with Richard Burgin conducting and Cleora Wood as soloist. It was Burgin who then conducted the first complete BSO performances of Mahler’s Fourth, on March 23 and 24, 1945, with soprano Mona Paulee, subsequent Boston Symphony performances being given by Bruno Walter with Desi Halban; Burgin with Anne English, Nancy Carr, and Virginia Babikian; Erich Leinsdorf with Anne Elgar; Colin Davis with Judith Raskin; Klaus Tennstedt with Phyllis Bryn-Julson; André Previn with Kathleen Battle; Seiji Ozawa with Frederica von Stade, Battle, Roberta Alexander, Christine Schäfer, and Barbara Bonney; Previn with von Stade; Simon Rattle with Dawn Upshaw; Bernard Haitink with Ana Maria Martinez; James Levine with Heidi Grant Murphy; Mark Wigglesworth with Juliane Banse; Levine with Renée Fleming; Juanjo Mena with Hei-Kyung Hong; and Bernard Haitink with Camilla Tilling (the most recent subscription performances, in April 2013, followed by the most recent Tanglewood performance, on August 17, 2013).

week 25 program notes 59 GUSTAV MAHLER Symphony No. 4 (Finale)

das himmlische leben life in heaven

Wir geniessen die himmlischen Freuden, We enjoy the pleasures of Heaven D’rum thun wir das Irdische meiden. And therefore avoid earthly ones. Kein weltlich’ Getümmel No worldly tumult Hört man nicht im Himmel! Is to be heard in Heaven. Lebt Alles in sanftester Ruh’! All live in gentlest peace. Wir führen ein englisches Leben! We lead angelic lives, Sind dennoch ganz lustig daneben! Yet have a merry time of it besides. Wir tanzen und springen, We dance and we spring, Wir hüpfen und singen! We skip and we sing. Sanct Peter im Himmel sieht zu! Saint Peter in Heaven looks on. Johannes das Lämmlein auslasset, John lets the little lamb out, Der Metzger Herodes drauf passet! And Herod the Butcher lies in wait for it. Wir führen ein geduldig’s, We lead a patient,

From the autograph manuscript of Mahler’s Fourth Symphony, last movement; the line of text on the third, notated staff from the bottom reads, “Sankt Peter im Himmel sieht zu!”

60 Unschuldig’s, geduldig’s, Innocent, patient, Ein liebliches Lämmlein zu Tod! Dear little lamb to its death. Sanct Lucas den Ochsen thät schlachten Saint Luke slaughters the ox Ohn’ einig’s Bedenken und Achten, Without any thought or concern. Der Wein kost kein Heller Wine doesn’t cost a penny Im himmlischen Keller, In the heavenly cellars. Die Englein, die backen das Brot. The angels bake the bread. Gut’ Kräuter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten! Grow in the heavenly vegetable patch. Gut’ Spargel, Fisolen Good asparagus, string beans, Und was wir nur wollen! And whatever we want! Ganze Schüsseln voll sind uns bereit! Whole dishfuls are set out for us! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, good pears, and good grapes, Die Gärtner, die Alles erlauben! And gardeners who allow everything! Willst Rehbock, willst Hasen, If you want venison or hare, Auf offener Strassen sie laufen You’ll find them running on the herbei. public streets. Sollt ein Fasttag etwa kommen Should a fast-day come along, Alle Fische gleich mit Freuden All the fishes at once come swimming angeschwommen! with joy. Dort läuft schon Sanct Peter There goes Saint Peter, running Mit Netz und mit Köder With his net and his bait Zum himmlischen Weiher hinein. To the heavenly pond. Sanct Martha die Köchin muss sein. Saint Martha shall be the cook. Kein Musik ist ja nicht auf Erden, There is just no music on earth Die uns’rer verglichen kann werden. That can compare to ours. Elftausend Jungfrauen Even the eleven thousand virgins Zu tanzen sich trauen! Venture to dance, Sanct Ursula selbst dazu lacht! And Saint Ursula herself has to laugh. Cäcilia mit ihren Verwandten Cecilia and all her relations Sind treffliche Hofmusikanten! Make excellent court musicians. Die englischen Stimmen The angelic voices Ermuntern die Sinnen! Gladden our senses, Dass Alles für Freuden erwacht. So that all awake for joy.

From “Des Knaben Wunderhorn” Translation by Michael Steinberg

week 25 text and translation 61 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. To Read and Hear More...

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

This week’s selections from Shostakovich’s Opus 58a incidental music for Grigori Kozint- sev’s 1941 staging of King Lear are being recorded live for inclusion in the third release of the Andris Nelsons/BSO series “Shostakovich Under Stalin’s Shadow” on Deutsche Grammophon (a two-disc set also to include the Symphony No. 6, Symphony No. 7, and Festive Overture, those works having been recorded earlier this season). Meanwhile, Shostakovich’s Opus 58a has previously been recorded by Michail Jurowski and the Berlin Radio Symphony Orchestra (originally paired on a 1992 Capriccio CD with Shostakovich’s music for the 1970 Kozintsev film ofKing Lear); by José Serebrier with the Belgian Radio Symphony Orchestra (Warner Classics, but in a three-disc set titled “Shostakovich Film Music”—pointing up the continuing confusion between the composer’s music for Kozintsev’s 1941 staging and 1970 film ofKing Lear); and Mark Elder with the City of Birmingham Symphony Orchestra (Signum UK, paired with the composer’s music for Nikolai Akimov’s 1932 stage production of Hamlet—not to be confused with his music for Kozintsev’s 1964 Hamlet film!).

week 25 read and hear more 63 Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the Master Musicians series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer, Pianist, Conductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rachmaninoff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press).

Leif Ove Andsnes has recorded Rachmaninoff’s Piano Concerto No. 4 with Antonio Pappano and the London Symphony Orchestra (Warner Classics, either paired with the Third Concerto, or in Andsnes’s complete set of the four concertos). Rachmaninoff’s own recordings of his piano concertos with the Philadelphia Orchestra under Leopold Stokowski (No. 2 and the Rhapsody on a Theme of Paganini) and Eugene Ormandy (Nos. 1, 3, and No. 4 in its final revised version), made originally for RCA Victor and

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64 reissued on RCA CDs, have also been available in excellent CD transfers from the original 78s on budget-priced Naxos. Other recordings of the Piano Concerto No. 4 feature Stephen Hough with Andrew Litton and the Dallas Symphony Orchestra (Hyperion), Arturo Benedetti Michelangeli with Ettore Gracis and the Philharmonia Orchestra (EMI), Vladimir Ashkenazy with Bernard Haitink and the Concertgebouw Orchestra (London) or with André Previn and the London Symphony Orchestra (Decca), Philippe Entremont with Eugene Ormandy and the Philadelphia Orchestra (Sony Classical), Nikolai Lugansky with Sakari Oramo and the City of Birmingham Symphony Orchestra (Erato), Mikhail Rudy with Mariss Jansons and the St. Petersburg Philharmonic (Warner Classics), and Simon Trpˇceski with Vasily Petrenko and the Royal Liverpool Philharmonic (Avie). For those inclined to explore further, pianist Alexander Ghindin recorded the original versions of Rachmaninoff’s piano concertos 4 and 1 with Vladimir Ashkenazy conducting the Helsinki Philharmonic (originally Ondine).

Deryck Cooke’s Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer’s works (Cambridge University paperback). Other good starting points include Jonathan Carr’s Mahler (Overlook Press), Peter Franklin’s The life of Mahler in the series “Musical lives” (Cambridge paperback), and Michael Kennedy’s Mahler in the “Master Musicians” series (Oxford paperback). There are two big, multi-volume biogra- phies of the composer, one by Henry-Louis de La Grange (Oxford), the other by Donald Mitchell (University of California). Useful essay collections devoted to Mahler’s life, works, and milieu include The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson (Oxford), Mahler and his World, edited by Karen Painter (Princeton University paperback), and The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cam- bridge paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Mahler by Stephen Johnson (Oxford paperback). The late Mahler enthusiast and conductor Gilbert Kaplan saw to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Also published by The Kaplan Foundation are Mahler’s Concerts by Knud Martner, which offers a detailed history of Mahler on the podium, including music performed, soloists, concert halls, etc., for each of more than 300 concerts (co-published with Overlook Press), and Mahler Discography, edited by Péter Fülöp, which remains valuable to anyone interested in Mahler recordings, despite its 1995 publication date. Michael Steinberg’s program notes on Mahler’s symphonies 1 through 10 are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Alma Mahler’s autobiography And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) provide important if necessarily subjective source materials. Knud Martner’s Gustav Mahler: Selected Letters offers a useful volume of correspondence, including all of the letters published in Alma’s earlier collection (Farrar, Straus and Giroux). Though now more than forty years old, Kurt Blaukopf’s extensively illustrated Mahler: A Documentary Study remains well worth seeking from second-hand sources (Oxford University Press).

The Boston Symphony Orchestra recorded Mahler’s Symphony No. 4 with Seiji Ozawa

week 25 read and hear more 65 LOCAL EXPERTS, GLOBAL REACH Our Post-War & Contemporary Art specialist will be visiting the Boston area in early March to provide complimentary auction estimates with a view to selling in our May 16th auction in New York.

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66 as part of their complete Mahler cycle, with soloist Kiri Te Kanawa (Philips). Other recordings include (listed alphabetically by conductor) Pierre Boulez’s with the Cleve- land Orchestra and Juliane Banse (Deutsche Grammophon), Bernard Haitink’s with the Royal Concertgebouw Orchestra of Amsterdam and Christine Schäfer (RCO Live), James Levine’s with the Chicago Symphony Orchestra and Judith Blegen (RCA), George Szell’s with the Cleveland Orchestra and Judith Raskin (Sony), Klaus Tennstedt’s with the London Philharmonic and Lucia Popp (EMI), Michael Tilson Thomas’s with the San Francisco Symphony and Laura Claycomb (San Francisco Symphony), and Benjamin Zander’s with the Philharmonia Orchestra and Camilla Tilling (Telarc). Among historic issues are two led by Bruno Walter: the very first commercial recording of the work, from 1945 with the New York Philharmonic and soprano Desi Halban (Sony), and a live performance from Walter’s 1960 “farewell concert” in Vienna, with the Vienna Phil- harmonic and soloist Elisabeth Schwarzkopf (Music & Arts). Of special interest are an engrossing 1961 concert performance from that year’s Edinburgh Festival with Benjamin Britten conducting the London Symphony Orchestra with soprano Joan Carlyle (BBC Legends), and Willem Mengelberg’s 1939 concert performance with the Concertgebouw Orchestra of Amsterdam and soloist Jo Vincent (various CD reissues).

Finally, and also of special interest, an extraordinary document in sound: in November 1905, Mahler “recorded” four pieces of his music on piano rolls for the Welte-Mignon player-piano system, including piano transcriptions of “Das himmlische Leben” (the finale of the Fourth Symphony), “Ging heut’ morgen übers Feld” from hisSongs of a Wayfarer, his early song “Ich ging mit Lust durch einen grünen Wald,” and the first movement of his Symphony No. 5. These can be heard on a compact disc produced by Gilbert Kaplan for Golden Legacy Recorded Music, “Mahler Plays Mahler: The Welte- Mignon Piano Rolls” (originally on IMP Classics). Also included are repetitions of the first three pieces with the vocal lines performed by present-day singers Yvonne Kenny and Claudine Carlson, in the belief that Mahler may have intended the piano rolls to be used for practice by singers. The disc is filled out with a half-hour oral history, “Remembering Mahler,” incorporating reminiscences taped in the early 1960s by people associated with the composer, including the composer’s daughter Anna and musicians who played under him in Vienna and New York.

Marc Mandel

week 25 read and hear more 67 familymatters

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goulstonstorrs.com Guest Artists

Leif Ove Andsnes

Celebrated Norwegian pianist Leif Ove Andsnes appears in recitals, in chamber music, and as a concerto soloist with the world’s foremost orchestras, besides being an active recording artist. He is the founding director of the Rosendal Chamber Music Festival, was co-artistic director of the Risør Festival of Chamber Music for nearly two decades, and served as music director of California’s Ojai Music Festival in 2012. Mr. Andsnes was inducted into the Gramophone Hall of Fame in July 2013 and received an honorary doc- torate from New York’s Juilliard School in May 2016. The current season features a solo recital tour of South America; a joint piano four-hands tour with Marc-André Hamelin; a return to Boston for this week’s BSO appearances and an appearance this Sunday afternoon in Jordan Hall with the Boston Symphony Chamber Players; and two new recordings due for release in 2017-18: a Stravinsky four-hands album with Hamelin (Hyperion) and a solo Sibelius collection (Sony). Last season saw the release of “Concerto–A Beethoven Journey,” a documentary by Phil Grabsky chronicling Mr. Andsnes’s four-season focus on the composer’s music for piano and orchestra, which took him to 108 cities in twenty- seven countries for more than 230 live performances. Mr. Andsnes also undertook major solo recital tours, and an international tour of Brahms’s complete piano quartets with Christian Tetzlaff, Tabea Zimmermann, and Clemens Hagen. Besides appearances with the symphony orchestras of Chicago, Cleveland, and Philadelphia, he performed with European ensembles including the Zurich Tonhalle and Leipzig Gewandhaus orchestras, the Munich Philharmonic, Bergen Philharmonic, and London Symphony Orchestra, where he was the subject of the 2015-16 LSO “Artist Portrait” series. Summer 2016 saw him

week 25 guest artists 69 return to Lincoln Center’s Mostly Mozart Festival before heading back to his homeland to launch the inaugural Rosendal Chamber Music Festival. Summer 2015 brought the conclusion of “The Beethoven Journey,” perhaps his most ambitious achievement to date. With the Mahler Chamber Orchestra (MCO) he led complete Beethoven concerto cycles from the keyboard in residencies in Bonn, Hamburg, Lucerne, Vienna, Paris, New York, Shanghai, Tokyo, Bodø, and London, taking on further Beethoven collaborations with such ensembles as the Los Angeles Philharmonic, San Francisco Symphony, London Philharmonic, and Munich Philharmonic. His partnership with the MCO was also cap- tured on an acclaimed Sony Classical recording series entitled “The Beethoven Journey.” Mr. Andsnes now records exclusively for Sony Classical. His previous discography com- prises more than thirty discs for EMI Classics. He has been nominated for eight Grammys and awarded many international prizes, including six Gramophone Awards. His recordings of the music of his compatriot Edvard Grieg have been especially celebrated. A Com- mander of the Royal Norwegian Order of St. Olav, he is recipient of the Peer Gynt Prize, the Royal Philharmonic Society’s Instrumentalist Award, and the Gilmore Artist Award. Leif Ove Andsnes was born in Karmøy, Norway, in 1970 and studied at the Bergen Music Conservatory under Czech professor Jiˇrí Hlinka. He lives in Bergen, became a father for the first time in June 2010, and welcomed twins into his family in May 2013. Mr. Andsnes made his BSO debut in July 1996 at Tanglewood with Beethoven’s Piano Concerto No. 2 and his subscription series debut in March 1997 with Mozart’s D minor concerto, K.466, subsequently returning to perform Schumann’s Piano Concerto, Rachmaninoff’s Piano Concerto No. 2, Beethoven’s Piano Concerto No. 3 (his most recent Tanglewood appearance, in August 2009), and Beethoven’s Piano Concerto No. 1 (his most recent subscription appearances, in January 2012).

70 Kristine Opolais

One of today’s most sought-after sopranos on the international scene, Kristine Opolais appears regularly at the Metropolitan Opera, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, and Royal Opera House–Covent Garden, working with such conductors as Barenboim, Pappano, Harding, Nelsons, Armiliato, Luisi, Petrenko, Bychkov, and Altinoglu. In the 2016-17 season Ms. Opolais continued her notable collaboration with the Metropolitan Opera, in three productions that were all also broadcast to cinemas as part of the Met’s “Live in HD” series: Manon Lescaut (Eyre) opposite Marcelo Álvarez, La bohème (Zeffirelli), and a new production ofRusalka (Zimmerman). She has maintained a strong relationship with the Met since her 2013 debut there as Magda in La Rondine. In April 2014 she made Met history when, within eighteen hours, she made house debuts in two roles, giving an acclaimed, scheduled performance as Cio-Cio San in Madama Butterfly, then stepping in as Mimì for a mati- nee performance of La bohème the very next day—a performance broadcast to cinemas around the world. Continuing her association with the Bayerische Staatsoper, which began with her 2010 debut as Rusalka, she has appeared there as Cio-Cio San, Tatiana in Eugene Onegin, and Margherita in Mefistofele and this season reprised her debut role as Rusalka. Ms. Opolais’s collaboration with the Royal Opera House has featured the Puccini roles of Cio-Cio San, Floria Tosca, and Manon Lescaut. She has appeared at Opernhaus Zürich in the title role of Jen˚ufa and this season returned to the Wiener Staatsoper for one of her signature roles, Cio-Cio San. On the concert stage she made her Berlin Philharmonic debut singing Tosca under Sir Simon Rattle’s baton at Baden-Baden and Berlin’s Philharmonie. Highlights of recent concert performances have included appearances with the Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, WDR Sinfonieorchester Köln, and Filarmonica della Scala, and festival appearances at the Salzburg Festival, BBC Proms, and Tanglewood. Highlights of the current season include debut performances with the Gewandhausorchester Leipzig, in a signature Czech program. She returns to the Musikverein, after her debut last season, and to the Konzerthaus Dortmund. In great demand for gala concert performances, Ms. Opolais returns on tour to the Baltic for the first time in four years, with dates in Latvia and Lithu- ania. DVD recordings include the Royal Opera House’s Manon Lescaut, in which she sings

week 25 guest artists 71 the title role opposite Jonas Kaufmann, Prokofiev’sThe Gambler at Deutsche Staatsoper Berlin under Daniel Barenboim, and Rusalka from the Bayerische Staatsoper. Among her recent CD releases are an Orfeo recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica, which was nominated for a BBC Music Magazine Award, and Simon Boccane- gra with the Vienna Symphony on Decca. In addition, she appears on Jonas Kaufmann’s Grammy-nominated Puccini album (Sony). Kristine Opolais made her Boston Symphony Orchestra debut at Tanglewood in July 2013, in a performance of Verdi’s Requiem, and her first Symphony Hall appearance in September 2014, as a soloist in Andris Nelsons’ inaugural concert as the BSO’s music director, a performance subsequently telecast in the PBS series “Great Performances.” She sang arias of Boito and Verdi at Tanglewood in August 2015; appeared here most recently in April 2016 singing Rachmaninoff’s “How fair this place” and the Letter Scene from Tchaikovsky’s Eugene Onegin, subsequently singing that music in Essen, Munich, and Vienna that May during the BSO’s European tour; and made her most recent BSO appearances at Tanglewood last August, singing the title role in concert performances of Acts I and II of Verdi’s Aida.

week 25 guest artists 73 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

2016-2017 season summary works performed during the boston symphony orchestra’s 2016-2017 subscription season week Thomas ADÈS Totentanz, for mezzo-soprano, baritone, and orchestra 6 CHRISTIANNE STOTIJN, mezzo-soprano; MARK STONE, baritone Julian ANDERSON Incantesimi (American premiere; BSO co-commission) 13 Timo ANDRES Everything Happens So Much (world premiere; BSO commission) 8 J.S. BACH Mass in B minor, BWV 232 14 MALIN CHRISTENSSON, soprano; CHRISTINE RICE, mezzo-soprano; BENJAMIN BRUNS, tenor; HANNO MÜLLER-BRACHMANN, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, guest chorus conductor BARBER Toccata Festiva, Op. 36 11 CAMERON CARPENTER, organ BARTÓK Bluebeard’s Castle, Op. 11 5 ILDIKÓ KOMLÓSI, mezzo-soprano (Judith); MATTHIAS GOERNE, baritone (Bluebeard); GEORGE MESZOLY, speaker (Prologue) Violin Concerto No. 2 in B minor 3 FRANK PETER ZIMMERMANN, violin BEETHOVEN Piano Concerto No. 2 in B-flat, Op. 19 Tues C (Feb 14) EMANUEL AX, piano Symphony No. 3 in E-flat, Op. 55,Eroica 16 Symphony No. 6 in F, Op. 68, Pastoral 20 Symphony No. 7 in A, Op. 92 19 George BENJAMIN Dream of the Song, for countertenor, female chorus, and orchestra 15 BEJUN MEHTA, countertenor; LORELEI ENSEMBLE, BETH WILLER, artistic director BERLIOZ Le Corsaire Overture, Op. 21 20 Roman Carnival Overture, Op. 9 21 Symphonie fantastique, Op. 14 15, Tues C (Feb 14)

week 25 2016-2017 season summary 75 BRAHMS A German Requiem, Op. 45 2 CAMILLA TILLING, soprano; THOMAS HAMPSON, baritone; TANGLEWOOD FESTIVAL CHORUS, LIDIYA YANKOVSKAYA, guest chorus conductor Piano Concerto No. 1 in D minor, Op. 15 7 HÉLÈNE GRIMAUD, piano Piano Concerto No. 2 in B-flat, Op. 83 8 HÉLÈNE GRIMAUD, piano Symphony No. 1 in C minor, Op. 68 7 Symphony No. 2 in D, Op. 73 7 Symphony No. 3 in F, Op. 90 8 Symphony No. 4 in E minor, Op. 98 8 BRITTEN Sinfonia da Requiem, Op. 20 6 BRUCKNER Symphony No. 6 in A 22 BUSONI Concerto in C for Piano and Orchestra with Men’s Chorus, Op. 39 18 KIRILL GERSTEIN, piano; MEN OF THE TANGLEWOOD FESTIVAL CHORUS, LIDIYA YANKOVSKAYA, guest chorus conductor DEBUSSY Nocturnes 19 WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, LIDIYA YANKOVSKAYA, guest chorus conductor DUTILLEUX Symphony No. 2, Le Double 21 DVORÁKˇ Symphony No. 9 in E minor, Op. 95, From the New World 9 ELGAR Cello Concerto in E minor, Op. 85 4 YO-YO MA, cello Variations on an Original Theme, Op. 36, Enigma 11 Sofia GUBAIDULINA Triple Concerto for violin, cello, and bayan 17 (world premiere; BSO co-commission) BAIBA SKRIDE, violin; HARRIET KRIJGH, cello; ELSBETH MOSER, bayan HAYDN Symphony No. 60 in C, Il distratto 19 HOLST The Planets, Suite for orchestra, Op. 32 4 WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, LISA GRAHAM, guest chorus conductor JANÁCEKˇ Taras Bulba, Rhapsody for Orchestra 3

76 JOLIVET Concertino for trumpet, string orchestra, and piano 10 THOMAS ROLFS, trumpet KROMMER Concerto No. 2 in E-flat for two clarinets and orchestra, Op. 91 10 WILLIAM R. HUDGINS and MICHAEL WAYNE, clarinets LALO Symphonie espagnole for violin and orchestra, Op. 21 21 RENAUD CAPUÇON, violin MAHLER Symphony No. 4 in G 25 KRISTINE OPOLAIS, soprano MENDELSSOHN Overture, The Hebrides (Fingal’s Cave), Op. 26 9 MOZART Piano Concerto No. 20 in D minor, K.466 22 MITSUKO UCHIDA, piano Piano Concerto No. 22 in E-flat, K.482 16 EMANUEL AX, piano Piano Concerto No. 24 in C minor, K.491 23 RADU LUPU, piano Piano Concerto No. 27 in B-flat, K.595 9 MENAHEM PRESSLER, piano Requiem in D minor, K.626 23 LUCY CROWE, soprano; TAMARA MUMFORD, mezzo-soprano; BEN JOHNSON, tenor; MORRIS ROBINSON, bass; TANGLEWOOD FESTIVAL CHORUS, JAMES BAGWELL, guest chorus conductor Symphony No. 39 in E-flat, K.543 5

MUSSORGSKY Night on Bald Mountain (arr. RIMSKY-KORSAKOV) 3 Pictures at an Exhibition (orch. RAVEL) Opening Night (Sept 24), Casual Fri (Sept 30) Eric NATHAN the space of a door (world premiere; BSO commission) 7 Matthias PINTSCHER un despertar, for cello and orchestra (world premiere; BSO co-commission) 20 ALISA WEILERSTEIN, cello PROKOFIEV Piano Concerto No. 3 in C, Op. 26 Opening Night (Sept 24) LANG LANG, piano Symphony No. 1 in D, Op. 25, Classical 12 RACHMANINOFF Piano Concerto No. 4 in G minor, Op. 40 25 LEIF OVE ANDSNES, piano

week 25 2016-2017 season summary 77 RAVEL Le Tombeau de Couperin 15 Terry RILEY At the Royal Majestic, for organ and orchestra 11 CAMERON CARPENTER, organ ROTA Concerto for Trombone and Orchestra 10 TOBY OFT, trombone ROUSSEL Bacchus et Ariane, Op. 43, Suite No. 2 21 SCHUBERT Symphony in C, D.944, The Great 13 SCHULLER Seven Studies on Themes of Paul Klee 16 SCHUMANN Conzertstück in F for four horns and orchestra, Op. 86 10 JAMES SOMMERVILLE, MICHAEL WINTER, RACHEL CHILDERS, and JASON SNIDER, horns Piano Concerto in A minor, Op. 54 13 JEAN-FRÉDÉRIC NEUBURGER, piano SHOSTAKOVICH Festive Overture, Op. 96 Opening Night (Sept 24), Casual Fri (Sept 30), 24 Excerpts from Incidental Music to King Lear, Op. 58a 25 Symphony No. 6 in B minor, Op. 54 24 Symphony No. 7 in C, Op. 60, Leningrad 17 SIBELIUS Symphony No. 3 in C, Op. 52 18 Tapiola, Op. 112 6 SMETANA Šárka, from Má Vlast 3 STRAUSS Der Rosenkavalier, Opera in three acts, Op. 59 1 RENÉE FLEMING, soprano (Marschallin); ERIN MORLEY, soprano (Sophie); SUSAN GRAHAM, mezzo-soprano (Octavian); FRANZ HAWLATA, bass (Baron Ochs); ALAN OPIE, baritone (Faninal); IRMGARD VILSMAIER, soprano (Marianne); MICHELLE TRAINOR, soprano (Milliner); JANE HENSCHEL, mezzo-soprano (Annina); GRAHAM CLARK, tenor (Valzacchi); STEPHEN COSTELLO, tenor (Italian Singer); DAVID CANGELOSI, tenor (Marschallin’s Majordomo); RONALD NALDI, tenor (Faninal’s Majordomo); NEAL FERREIRA, tenor (Animal Vendor); JOHN MCVEIGH, tenor (Landlord); DAVID KRAVITZ, baritone (Notary); DAVID CUSHING, bass (Police Officer); KELLEY HOLLIS, soprano (Orphan); THEA LOBO, mezzo-soprano (Orphan); SARA BETH SHELTON, alto (Orphan); TANGLEWOOD FESTIVAL CHORUS, LIDIYA YANKOVSKAYA, guest chorus conductor; MEMBERS OF VOICES BOSTON, STEVEN LIPSITT, artistic director

78 TAKEMITSU Nostalghia—In Memory of Andrei Tarkovskij, for violin and strings 24 ANNE-SOPHIE MUTTER, violin TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 12 Violin Concerto in D, Op. 35 24 ANNE-SOPHIE MUTTER, violin VIVALDI Piccolo Concerto in C, RV 443 10 CYNTHIA MEYERS, piccolo WALTON Portsmouth Point Overture 4 WEINBERG Violin Concerto, Op. 67 12 GIDON KREMER, violin Jörg WIDMANN Trauermarsch, for piano and orchestra 2 YEFIM BRONFMAN, piano

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week 25 2016-2017 season summary 79 conductors of the boston symphony orchestra during the 2016-2017 season week ANDRIS NELSONS, Music Director Opening Night (Sept 24), 1, Casual Fri (Sept 30), 2, 7, 8, 14, 15, Tues ‘C’ (Feb 14), 16, 17, 22, 23, 24, 25 THOMAS ADÈS, BSO Artistic Partner 6 ALAIN ALTINOGLU 21 CHARLES DUTOIT 4, 5 MORITZ GNANN, BSO Assistant Conductor 9 BERNARD HAITINK, BSO Conductor Emeritus 19 JAKUB HRUSA˚ 3 KEN-DAVID MASUR, BSO Assistant Conductor 10 JUANJO MENA 12, 13* SAKARI ORAMO 18 FRANÇOIS-XAVIER ROTH 20 BRAMWELL TOVEY 11

* Substituting for Christoph von Dohnányi (due to illness)

7TH ANNUAL GALA & AUCTION

TUESDAY MAY 9, 2017 AT 6:30PM

MUSEUM OF FINE ARTS, BOSTON Tickets $250 Visit www.BYSOweb.org/gala • Call 617-358-6119

80 soloists with the boston symphony orchestra during the 2016-2017 season week LEIF OVE ANDSNES, piano 25 EMANUEL AX, piano Tues ‘C’ (Feb 14), 16 YEFIM BRONFMAN, piano 2 BENJAMIN BRUNS, tenor 14 DAVID CANGELOSI, tenor 1 RENAUD CAPUÇON, violin 21 CAMERON CARPENTER, organ 11 RACHEL CHILDERS, horn 10 MALIN CHRISTENSSON, soprano 14 GRAHAM CLARK, tenor 1 STEPHEN COSTELLO, tenor 1 LUCY CROWE, soprano 23 DAVID CUSHING, bass 1 NEAL FERREIRA, tenor 1 RENÉE FLEMING, soprano 1 KIRILL GERSTEIN, piano 18 MATTHIAS GOERNE, baritone 5 SUSAN GRAHAM, mezzo-soprano 1 HÉLÈNE GRIMAUD, piano 7, 8 THOMAS HAMPSON, baritone 2 FRANZ HAWLATA, bass 1 JANE HENSCHEL, mezzo-soprano 1 KELLEY HOLLIS, soprano 1 WILLIAM R. HUDGINS, clarinet 10 BEN JOHNSON, tenor 23 ILDIKÓ KOMLÓSI, mezzo-soprano 5 DAVID KRAVITZ, baritone 1 GIDON KREMER, violin 12 HARRIET KRIJGH, cello 17 LANG LANG, piano Opening Night (Sept 24) THEA LOBO, mezzo-soprano 1 RADU LUPU, piano 23 YO-YO MA, cello 4 JOHN MCVEIGH, tenor 1 BEJUN MEHTA, countertenor 15 GEORGE MESZOLY, speaker 5 CYNTHIA MEYERS, piccolo 10 ERIN MORLEY, soprano 1 ELSBETH MOSER, bayan 17 HANNO MÜLLER-BRACHMANN, bass-baritone 14 TAMARA MUMFORD, mezzo-soprano 23 ANNE-SOPHIE MUTTER, violin 24 RONALD NALDI, tenor 1 JEAN-FRÉDÉRIC NEUBURGER, piano 13 TOBY OFT, trombone 10 ALAN OPIE, baritone 1 KRISTINE OPOLAIS, soprano 25 MENAHEM PRESSLER, piano 9

week 25 2016-2017 season summary 81 CHRISTINE RICE, mezzo-soprano 14 MORRIS ROBINSON, bass 23 THOMAS ROLFS, trumpet 10 SARA BETH SHELTON, alto 1 BAIBA SKRIDE, violin 17 JASON SNIDER, horn 10 JAMES SOMMERVILLE, horn 10 MARK STONE, baritone 6 CHRISTIANNE STOTIJN, mezzo-soprano 6 CAMILLA TILLING, soprano 2 MICHELLE TRAINOR, soprano 1 MITSUKO UCHIDA, piano 22 IRMGARD VILSMAIER, soprano 1 MICHAEL WAYNE, clarinet 10 ALISA WEILERSTEIN, cello 20 MICHAEL WINTER, horn 10 FRANK PETER ZIMMERMANN, violin 3

TANGLEWOOD FESTIVAL CHORUS JAMES BAGWELL, guest chorus conductor 23 JAMES BURTON, guest chorus conductor 14 LISA GRAHAM, guest chorus conductor 4 LIDIYA YANKOVSKAYA, guest chorus conductor 1, 2, 18, 19 LORELEI ENSEMBLE, BETH WILLER, artistic director 15 VOICES BOSTON, STEVEN LIPSITT, artistic director 1

A Composer’s Sense of Place May 8, 2017 The New England Philharmonic Chamber Players 6 PM – 7:30 PM in partnership with the Boston Athenaeum The NEP Chamber Players present compositions from New England and abroad to complement the Athenaeum’s exhibition New England on Paper: Contemporary Art in the Boston Athenæum’s Prints & Photographs Collection . The performance will demonstrate that music, like works of art on paper, is permeated by a sens e of place and context. www.BostonAthenaeum.org

82 three concerts at carnegie hall Tuesday, February 28, 2017, at 8pm ANDRIS NELSONS, conductor BAIBA SKRIDE, violin HARRIET KRIJGH, cello ELSBETH MOSER, bayan Sofia GUBAIDULINA Triple Concerto for violin, cello, and bayan (BSO co-commission; New York premiere) SHOSTAKOVICH Symphony No. 7 in C, Op. 60, Leningrad

Wednesday, March 1, 2017, at 8pm ANDRIS NELSONS, conductor EMANUEL AX, piano SCHULLER Seven Studies on Themes of Paul Klee MOZART Piano Concerto No. 22 in E-flat, K.482 BEETHOVEN Symphony No. 3 in E-flat, Op. 55, Eroica

Thursday, March 2, 2017, at 8pm ANDRIS NELSONS, conductor BEJUN MEHTA, countertenor LORELEI ENSEMBLE, BETH WILLER, artistic director RAVEL Le Tombeau de Couperin George BENJAMIN Dream of the Song, for countertenor, female chorus, and orchestra (BSO co-commission; New York premiere) BERLIOZ Symphonie fantastique, Op. 14 two concerts in canada Saturday, March 4, 2017 Maison Symphonique, Montreal, at 8pm ANDRIS NELSONS, conductor EMANUEL AX, piano MOZART Piano Concerto No. 22 in E-flat, K.482 BERLIOZ Symphonie fantastique, Op. 14 Encore: BIZET Intermezzo from Carmen

Sunday, March 5, 2017 Roy Thomson Hall, Toronto, at 3pm ANDRIS NELSONS, conductor EMANUEL AX, piano BEETHOVEN Piano Concerto No. 2 in B-flat, Op. 19 BERLIOZ Symphonie fantastique, Op. 14 Encore: BIZET Intermezzo from Carmen

week 25 2016-2017 season summary 83 works performed in fenway center and/or community concerts during the 2016-2017 subscription season week BACH/FALLS Bach Reels in his Grave 2/4/6 BEETHOVEN String Quartet No. 7 in F, Opus 59, No. 1 20 String Quintet in C, Opus 29 19 BEWICK Annoying Little Sister Tango 2/4/6 BORODIN String Quartet No. 2 in D 14 CLARKE Prelude, Allegro, and Pastorale, for clarinet and viola 21/21A FOOTE Ballade for violin and piano 24 Scherzo for flute and string quartet 15 GINASTERA Impresiones de la Puna, for flute and string quartet 15 LAKATOS/BEWICK Turka 2/4/6 LOEFFLER String Quartet in A minor 19 PIAZZOLLA Tango Ballet for string quintet 2/4/6 PISTON Duo for Viola and Cello 20 PRICE String Quartet 15 PROKOFIEV Quintet in G minor for oboe, clarinet, violin, viola, and double bass 21/21A RAVEL Sonata for Violin and Cello 14 String Quartet in F 15 SHOSTAKOVICH Quintet in G minor for piano and strings, Op. 57 24 TCHAIKOVSKY String Quartet in B-flat 24 Nicholas URIE Quintet (world premiere; BSO commission) 21/21A

JIG SET: Larry O’Gaff’s/Cuil Aodh/ 2/4/6 Gallagher’s Frolics/Homer in a Tree

REEL SET: Mulvihill’s Air/Musical Priest/Farrel O’Gara’s/ 2/4/6 The Girl Who Broke My Heart/Free ’n Easy

84 performers in fenway center and/or community concerts during the 2016-2017 subscription season week OLIVER ALDORT, cello 20 BONNIE BEWICK, violin 2/4/6 KEN BEWICK, guitar 2/4/6 GLEN CHERRY, violin 14, 21/21A XIN DING, violin 24 REBEKAH EDEWARDS, viola 2/4/6 ADAM ESBENSEN, cello 14 LEAH FERGUSON, viola 19 SHEILA FIEKOWSKY, violin 19 CLINT FOREMAN, flute 15 DANIEL GETZ, viola 19, 24 REBECCA GITTER, viola 15, 21/21A SI-JING HUANG, violin 20 ALA JOJATU, violin 2/4/6 MIHAIL JOJATU, cello 2/4/6 MICKEY KATZ, cello 19 DANNY KIM, viola 14 VALERIA VILKER KUCHMENT, violin 14 MAX LEVINSON, piano 24 BENJAMIN LEVY, double bass 21/21A LUCIA LIN, violin 15 BRACHA MALKIN, violin 15, 19 VICTOR ROMANUL, violin 20, 24 ROBERT SHEENA, oboe 21/21A MICHAEL WAYNE, clarinet 21/21A LAWRENCE WOLFE, double bass 2/4/6 OWEN YOUNG, cello 15, 24 MICHAEL ZARETSKY, viola 20

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week 25 2016-2017 season summary 85 boston symphony chamber players 2016-2017 subscription season Four Sunday afternoons at 3pm in Jordan Hall at the New England Conservatory of Music

October 30, 2016 with THOMAS ADÈS, piano KELLEY O’CONNOR, mezzo-soprano BRITTEN Sinfonietta for winds and strings, Op. 1 Thomas ADÈS Court Studies from The Tempest, for clarinet, violin, cello, and piano BRAHMS (arr. John WOOLRICH) Ophelia Songs, arranged for voice and chamber ensemble STRAVINSKY Three Shakespeare Songs PURCELL (arr. Thomas ADÈS) Two Songs from The Tempest, arranged for voice and piano: “Come unto these yellow sands” and “Full fathom five” SCHUBERT Quintet in A for piano and strings, D.667, Trout

January 22, 2017 with RANDALL HODGKINSON, pianist Dedicated to the memory of Jules Eskin MOZART Andante cantabile from Duo in B-flat for violin and viola, K.424 (played in memory of Jules Eskin) TAFFANEL Wind Quintet in G minor SAINT-SAËNS Septet in E-flat for piano, trumpet, and strings, Op. 65 Eric TANGUY Afterwards, for flute and piano FRANÇAIX Octet for winds and strings

April 2, 2017 with ELIZABETH FISCHBORN, soprano DAVID DEVEAU, piano JOLIVET Pastorales de Noël, for flute, bassoon, and harp Fred LERDAHL Fire and Ice, for soprano and double bass PROKOFIEV Quintet in G minor for oboe, clarinet, violin, viola, and double bass, Op. 39 Daniel CROZIER Masque, for oboe and string trio BRAHMS Piano Quartet No. 1 in G minor, Op. 25

May 7, 2017 with LEIF OVE ANDSNES, piano STRAVINSKY Octet for Winds WEINBERG Sonata for solo double bass, Op. 108 Sofia GUBAIDULINA Garden of Joy and Sorrow, for flute, viola, and harp BRAHMS Piano Quartet No. 3 in C minor, Op. 60

86 special performance at jordan hall, presented in association with the celebrity series of boston, to celebrate the start of thomas adès’s three-year tenure as the bso’s artistic partner

Friday, October 28, 2016, at 8pm IAN BOSTRIDGE, tenor THOMAS ADÈS, piano SCHUBERT Winterreise, D.911 articles/features printed in the boston symphony orchestra program books during the 2016-2017 subscription season week A Brief History of the BSO Opening Night (Sept 24), Casual Fri (Sept 30), 2, 3, 9, 17, 18, 20, 21 A Brief History of Symphony Hall Casual Fri (Sept 30), 20 Brahms’s Orchestral Voice, by Jan Swafford 4, 5, 6, 7, 8 Casts of Character: The Symphony Statues, by Caroline Taylor 9, 13, 15, Tues ‘C’ (Feb 14) A Case for Quality, by Gerald Elias 10, 11, 12 Old Strains Reawakened: The Boston Symphony Orchestra’s 14, 16 Historical Instrument Collection, by Douglas Yeo Shifting Keys to Mozart, by Thomas May 22, 23 “Tuba mirum” or “Tuba dirum”: Mozart’s Requiem 23 and the Trombone, by Douglas Yeo When the Shadow Fell: Shostakovich’s 24, 25 Re-inventive Art, by Thomas May

week 25 2016-2017 season summary 87 The Great Benefactors

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

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

seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ •

Fairmont Copley Plaza • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

88 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •

Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •

Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ •

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • 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 ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)

‡ Deceased

week 25 the great benefactors 89 ONE LIBERTY SQUARE

BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Roberta and George ‡ Berry • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Anonymous

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by April 21, 2017. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne ‡ Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok •

week 25 the maestro circle 91 Mr. and Mrs. William N. Booth • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (5) patron Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Diddy and John Cullinane • Sally Currier and Saul Pannell • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Intercontinental Real Estate Corporation, Peter Palandjian • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Steve Kidder and Judy Malone • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Margaret and Joseph Koerner • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Robert and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Anonymous (6)

92 sponsor Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Eve and Philip D. Cutter • Robert and Sara Danziger • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Ms. Emily C. Hood • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mr. John L. Klinck, Jr. • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • John O’Leary • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Debora and Alan Rottenberg • William and Kathleen Rousseau • Joanne Zervas Sattley • Norma and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Betsy and Will Shields • Marshall Sirvetz • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Magdalena Tosteson • John Travis • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Linda and Daniel Waintrup • Matthew and Susan Weatherbie • Mr. and Mrs. David Weinstein • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

week 25 the higginson society 93 member Mrs. Sonia Abrams • Nathaniel Adams and Sarah Grandfield • Dr. and Mrs. Menelaos Aliapoulios • Joel and Lisa Alvord • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Fred and Joanne Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Clark and Susana Bernard • Leonard and Jane Bernstein • Mrs. Stanton L. Black • Neil and Margery Blacklow • Partha and Vinita Bose • Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Rick and Nonnie Burnes • George ‡ and Assunta Cha • Mr. and Mrs. Dan Ciampa • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Albert and Hilary Creighton • Robert and Sarah Croce • Joanna Inches Cunningham • Alice and Stephen D. Cutler • Tamara P. and Charles H. Davis II • Pat and John Deutch • Relly and Brent Dibner • Rachel and Peter Dixon • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Joanne and Jerry Dreher • Mr. David L. Driscoll • Barbara and Seymour Ellin • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Mr. Donald J. Evans • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Beth and Richard Fentin • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Dr. Mark and Dr. Martha Fishman • Ms. Gail Flatto • Velma Frank • Mr. Michael Freedman ‡ and Ms. Dorothy Puhy • Myrna H. and Eugene M. ‡ Freedman • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Nelson S. Gifford • Ms. Diane Gipson • Elizabeth T. and Roberto S. Goizueta • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Harriet and George Greenfield • Paula S. Greenman • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Mr. Chip Hartranft • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Pat and Paul Hogan • Cerise Lim Jacobs, for Charles • William and Lisbeth Jannen • Mimi and George Jigarjian • Susan Johnston • Teresa Kaltz • Joan Bennett Kennedy • Elizabeth Kent • Paul L. King • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Susan G. Kohn • Dr. and Mrs. David Kosowsky • Mr. Alexander Kossey • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Mr. and Mrs. Don LeSieur • Emily Lewis • Alice Libby and Mark Costanzo • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Mr. and Mrs. Jeffrey E. Marshall • Vincent Mayer and Dana Lee • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Maureen and James Mellowes • Richard S. Milstein, Esq. • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Lawrence ‡ and Mary Norton • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Christine Olsen and Robert Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Joyce and Bruce Pastor • Michael and Frances Payne • Kitty Pechet • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Dr. and Mrs. Michael Rater • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Robert and Ruth Remis •

week 25 the higginson society 95 Husband and wife Bob Chellis and Sandy Adams moved to Fox Hill Village at the ages of 73 and 74. The Best Place Before my wife and I moved to Fox Hill Village, I was a senior housing planner for 40 years. Research and jobs took me to Memory Care hundreds of the best places. White Oak Cottages at Fox Hill Village offers I am the second generation in my family to live at a unique alternative for those who can Fox Hill Village. My mother lived here until she was no longer live at home due to memory 104 years old! The continuing care was a blessing for impairment. With our specially designed her, and it will be for my wife and myself. Fox Hill is cottages, philosophy of care, and unique staffing model, we provide the very the best place for us. best living options for our residents with We wanted to move while the decision was ours to make. We’ve been dementia and Alzheimer’s disease. We delighted from day one. We have all the comforts of home and none of are a proud partner of The Green House® Project, a national movement to transform the worry. long-term care. • Cooperative Ownership To learn more, call 781-320-1999 • In-Home Assistance or visit WhiteOakCottages.com • Beautiful Location WHITE OAK Call us to schedule your private tour 781-329-4433. COTTAGES AT FOX HILL VILLAGE Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090

Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Adrianne E. Rogers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Donald Rosenfeld • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Gilda Slifka • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George ‡ and Lee Sprague • In honor of Ray and Maria Stata • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Mr. John Stevens and Ms. Virginia McIntyre • Fredericka and Howard Stevenson • Ann and David Swanson Fund of the Maine Community Foundation • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Marian and Dick Thornton • Diana O. Tottenham • Mrs. Polly J. Townsend • Philip C. Trackman • Dr. Roger Tung and Dr. Jillian Tung • Marc and Nadia Ullman • Mr. and Mrs. Christopher Viehbacher • Donald and Susan Ware • Mr. and Mrs. David Weber • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Ellen B. Widmer • Howard and Karen Wilcox • Dudley H. Willis and Sally S. Willis • Albert O. Wilson, Jr. ‡ • Elizabeth H. Wilson • The Workman Family • Drs. Richard and Judith Wurtman • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Xiaohua Zhang • Anonymous (9)

Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

week 25 the higginson society 97

Administration

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

Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director 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 James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 25 administration 99 Francisco Noya, Music Director 2016-2017 Season | Subscription Series: Classics III Brahms & Elgar Saturday, May 20 at 8:00pm Sunday, May 21 at 3:00pm

First Baptist Church RAVEL: Pavane for a 848 Beacon Street Dead Princess Newton Centre BRAHMS: Violin Concerto Alexander Velinzon, violin newphil.org 617-527-9717 ELGAR: Enigma Variations

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

100 development

Nina Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Associate Director of Education and Community Engagement • Elizabeth Mullins, Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 25 administration 101 information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations

Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Senior Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Neal Goldman, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 25 administration 103

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support,Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 25 administration 105 Symphony Hall Exit Plan

106 Symphony Hall Information

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

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

week 25 symphony hall information 107 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®