2006-2007 SEASON

BOSTON SYM PHONY ORCHESTRA

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

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

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

Mark G. Borden Nancy J. Fitzpatrick Richard P. Morse Wilmer J. Thomas, Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-officio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters

Paul Buttenwieser George Krupp Edward I. Rudman Eric D. Collins Shari Loessberg, ex-officio Hannah H. Schneider

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

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

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

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

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

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

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

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

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

Bateman John F. Fish Robert J. Lepofsky John Reed

Linda J.L. Becker Lawrence K. Fish Christopher J. Lindop Donna M. Riccardi George W. Berry Myrna H. Freedman John M. Loder Susan Rothenberg James L. Bildner Carol Fulp Edwin N. London Alan Rottenberg Bradley Bloom Dr. Arthur Gelb Jay Marks Joseph D. Roxe Anne F. Brooke Stephanie Gertz Jeffrey E. Marshall Kenan Sahin Gregory E. Bulger Robert P. Gittens Carmine Martignetti Ross E. Sherbrooke William Burgin Michael Gordon Joseph B. Martin, M.D. Gilda Slifka Ronald G. Casty Paula Groves Thomas McCann Christopher Smallhorn Rena F. Clark Michael Halperson Joseph C. McNay John C. Smith Carol Feinberg Cohen Carol Henderson Albert Merck Charles A. Stakely Mrs. James C. Collias Brent L. Henry Dr. Martin C. Mihm, Jr. Patricia L. Tambone Charles L. Cooney Susan Hockfield Robert Mnookin Samuel Thorne Ranny Cooper Osbert M. Hood Paul M. Montrone Albert Togut

James C. Curvey Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Tamara P. Davis William W Hunt Evelyn Stefansson Nef Joseph M. Tucci Mrs. Miguel de Braganca Ernest Jacquet Robert T. O'Connell Paul M. Verrochi Disque Deane Everett L. Jassy Susan W Paine Robert S. Weil Paul F. Deninger Charles H. Jenkins, Jr. Joseph Patton David C. Weinstein Ronald M. Druker Darlene Luccio Jordan, Ann M. Philbin James Westra

Alan J. Dworsky Esq. May H. Pierce Mrs. Joan D. Wheeler Alan Dynner Paul L. Joskow Claudio Pincus Richard Wurtman, M.D. Ursula Ehret-Dichter Stephen R. Karp Joyce L. Plotkin Dr. Michael Zinner John P. Eustis II Brian Keane Dr. John Thomas Potts, Jr. D. Brooks Zug Pamela D. Everhart Douglas A. Kingsley Overseers Emeriti Helaine B. Allen Mrs. Thomas Mrs. Gordon E Kingsley John Ex Rodgers Marjorie Arons-Barron Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Caroline Dwight Bain Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Sandra Bakalar Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Mrs. Levin H. Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles John Hamill Hart D. Leavitt L. Scott Singleton

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

J. Richard Fennell Richard L. Kayet Mrs. Peter van S. Rice Mrs. John J. Wilson Peter H.B. Frelinghuysen tDeceased

Officers of the Boston Symphony Association of Volunteers

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

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

Table of Contents

BSO News 5 On Display in Symphony Hall 7 BSO Music Director James Levine 10 The Boston Symphony Orchestra 12 This Week's Boston Symphony Orchestra Program 15 Notes on the Program 17 Featured Artists 35 Future Programs 60 Symphony Hall Exit Plan 62 Symphony Hall Information 63

This week's Pre-Concert Talks are given by Elizabeth Seitz of The Boston Conservatory.

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

Cover photograph by Michael J. Lutch Administration Mark Volpe, Managing Director

Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales, Marketing, Ellen Highstein, Director of Tanglewood Music Center and Communications Center Directorship, Tanglewood Music endowed in honor of Caroline Taylor, Senior Advisor to the Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director Director Bernadette M. Horgan, of Media Relations Ray F. Wellbaum, Orchestra Manager Thomas D. May, Chief Financial Officer

ADMINISTRATIVE STAFF/ARTISTIC

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

ADMINISTRATIVE STAFF/ PRODUCTION

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

BOSTON POPS

Dennis Alves, Director ofArtistic Programming

Sheri Goldstein, Personal Assistant to the Conductor Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

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

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

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

Stephanie Baker, Major and Planned Giving Coordinator • Diane Cataudella, Associate Director of Steward- ship for Donor Relations • Joseph Gaken, Associate Director of Stewardship for Donor Recognition • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Amy Hsu, Manager of Friends Membership • Andrea Katz, Coordinator of Special Events • Justin Kelly, Associate Manager of Development Operations • Brian Kern, Senior Major Gifts Officer • Nicole Leonard, Assistant Manager of Planned Giving • Ryan Losey, Associate Director of Foundation and Government Relations • Pamela McCarthy, Manager of Prospect Research • Cynthia Morgan, Development Donor Information and Data Coordinator • Cristina Perdoni, Assistant Manager of Gift Processing and Donor Records • Jennifer Raymond, Associate Director, Friends

Membership • Sarah Razer, Gift Processing and Donor Records Assistant • Katie Schlosser, Coordinator ofAnnual Fund Projects • Yong-Hee Silver, Manager ofBSO and Pops Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Program Manager, Corporate Programs • Laura Wexler, Assistant Manager of Development Communications • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Claire Carr, Coordinator of Education and Community Programs • Gabriel Cobas, Manager of Education Programs • Shana Golden, Coordinator of Research and Curriculum Development • Darlene White, Manager, Berkshire Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services

Tony Bennett, Cafe* Supervisor • Lesley Ann Cefalo, Event Services Business and Sales Manager • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager K FACILITIES C. Mark Cataudella, Director of Facilities IB* Symphony Hall Michael Finlan, Switchboard Supervisor • Susan Johnson, Facilities Coordinator • 100 ' Tyrone Tyrell, Facilities Services Lead • Shawn Wilder, Mailroom Clerk

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

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

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Of/ice Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Assistant Manager, Symphony Shop • Julie Green, Subscription Representative • Melinda Hallisey, Manager of New Business Development, Cor- porate Sponsorships • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Represen- tative • Michael Moore, E-Commerce Marketing Analyst • MarcyKate Perkins, SymphonyCharge Rep- resentative • Doreen Reis, Marketing Coordinatorfor Advertising • Robert Sistare, SymphonyCharge Repres- entative • Megan E. Sullivan, Senior Subscription Associate

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

Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan TANGLEWOOD MUSIC CENTER Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Directorfor Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling VOLUNTEER OFFICE Mia Schultz, Interim Director of Volunteer Services Sabine Chouljian, Assistant Managerfor Volunteer Services BSO A New CD from BSO Classics: The Boston Symphony Chamber Players Perform Mozart Chamber Music for Winds and Strings

A new Boston Symphony Chamber Players CD of chamber music by Mozart for winds and strings on the BSO's own label, BSO Classics, is due in the Symphony Shop on December 1, and will also be available via the BSO's website at www.bso.org. The disc includes Mozart's Clarinet Quintet in A, K.581, with BSO principal clarinetist William R. Hudgins; the Horn Quintet in E-flat, K.407, with BSO principal horn James Sommer- ville; the Oboe Quartet in F, K.370, with BSO principal oboe John Ferrillo; and the Flute Quartet in A, K.298, with BSO principal flute Elizabeth Rowe. The string players are BSO principals Malcolm Lowe, Haldan Martinson, Steven Ansell, and Edwin Barker, joined by BSO assistant principal viola Cathy Basrak. The disc will sell for $16.99 and can also be pre-ordered online from the Symphony Shop's webstore on the BSO's website.

Own a Piece of BSO History

Over the summer of 2006, a new floor was installed on Symphony Hall's historic stage. Now the Boston Symphony Orchestra is pleased to offer distinctive ballpoint pens crafted from the original hard maple floorboards installed more than a century ago. Sold exclu- sively at the Symphony Shop, these limited edition, hand-turned and -polished pens would make a perfect gift for the music lover or history buff. The pen is available in two versions—the larger "Americana" for $49.95 and the smaller "Classic" for $34.95. The Symphony Shop, located in the Cohen Wing, is open Tuesday through Friday from 11 a.m. to 4 p.m.; Saturday from noon to 6 p.m.; and from one hour before each concert through intermission.

Attention, BSO Radio Listeners WCRB Now at 99.5 FM

A reminder: Please note that Boston's classical radio station WCRB 102.5 FM moved in December to 99.5 FM on the radio dial. Live broadcasts by WCRB of the Boston Symphony Orchestra's Saturday-evening performances continue from this new location.

Pre-Concert Talks mer Boston Globe critic and BSO program an- notator Michael Steinberg discusses Vaughan Pre-Concert Talks available free of charge to Williams and Beethoven (January 25-27), BSO ticket holders precede all Boston Sym- BSO Director of Program Publications Marc phony subscription concerts and Open Re- Mandel discusses Beethoven and Schoenberg hearsals, starting at 6:45 p.m. prior to even- (January 31 -February 3) and Berlioz's Damna- ing concerts, 12:15 p.m. prior to Friday-after- tion of Faust (Feb. 8-10), and BSO Publica- noon concerts, 1:45 p.m. prior to the Sunday- tions Associate Robert Kirzinger discusses afternoon Fidelio performance on March 25, Haydn, Wuorinen, and Brahms (February and one hour before the start of morning and 15-17). evening Open Rehearsals. Given by a variety of distinguished speakers from Boston's musi- Book Signings with Michael Steinberg cal community, these informative half-hour at the Symphony Shop talks include recorded examples from the music being performed. This week, Elizabeth In conjunction with his Pre-Concert Talks Seitz of The Boston Conservatory discusses next week, Michael Steinberg—for many years Mozart and Haydn. In the weeks ahead, for- music critic of the Boston Globe, and then '

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6 program annotator for the BSO, San Francisco performers or other audience members while Symphony, and New York Philharmonic—will the concert is in progress. We thank you for sign copies of his latest book, a collection of your cooperation in these matters. essays entitled For the Love of Music—Invita- tions to Listening, at the Symphony Shop. Mr. BSO Members in Concert Steinberg will be on hand to sign books in the Founded by BSO percussionist Frank Epstein, period between his talks and the start of the Collage New Music continues its 2006-07 concert next Thursday, Friday, and Saturday season on Monday, January 29, at 7:30 p.m. nights, and also during the intermissions of at the Longy School of Music. The program those concerts. includes Julian Anderson's Towards Poetry, Martin Brody's Millennium Sightings featur- Comings and Goings... ing mezzo-soprano Janice Felty, the world Please note that latecomers will be seated premiere of John Heiss's Arguments & Medita- by the patron service staff during the first tions, and Oily Wilson's A City Called Heaven. convenient pause in the program. In addition, Tickets are $20 (discounted for seniors, free please also note that patrons who leave for students) and available at the door or by the hall during the performance will not be calling (617) 325-5200. For more information, allowed to reenter until the next convenient visit www.collagenewmusic.org. pause in the program, so as not to disturb the BSO members Elizabeth Ostling, flute,

Individual tickets are on sale for all concerts in the BSO's 2006-2007 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 63 of this program book.

On Display in Symphony Hall This season's BSO Archives exhibit highlights a remarkable collection of memora- bilia received in the spring of 2006 through a bequest from the Estate of Helen Zimbler, the wife of the late Josef Zimbler (1900-1959), who played in the BSO's cello section from 1934 to 1959. Also active as a chamber musician, Mr. Zimbler founded the Zimbler Quartet in the 1930s and the Zimbler Sinfonietta in the 1940s. Throughout his career, he accumulated a col- lection of autographed photos of many of the great soloists and conductors of the day, as well as correspondence from some of the leading composers of the time whose works he programmed in his chamber music series. Materials from the Zimbler Collection can be seen in five exhibit cases throughout Symphony Hall—two cases in the Cabot-Cahners Room on the second-balcony level of Symphony Hall; two cases in the first-balcony corridor, audience-right; and the display case on the or- chestra level near the door leading backstage from the Massachusetts Avenue corridor. Shown here is a reproduction of a pastel and ink portrait of Josef Zimbler made in 1950 by Brookline artist Kalah Novack; the original pastel and ink por- trait can be seen in the Cabot-Cahners Room. Also on display in the first-balcony corridor, audience-left, are materials from Symphony Hall's original stage floor, which was replaced—using techniques and materials matching those employed when the stage was originally installed in 1900—during the summer of 2006 for the first time in Symphony Hall's 106-year history. Also in the display case is a three-dimensional model that shows how the stage floor is constructed. To read more about the new stage floor, see page 5 of this program book.

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8 Tom Martin, clarinet, and Richard Ranti, bas- In Case of Snow... soon, participate in an "Inside Out" concert To find out the status of a Boston Symphony on Sunday, February 1, at 1 p.m. at Arlington concert and options available to you in case Street Church, 351 Boylston Street, Boston. of a snow emergency, BSO subscribers and The program includes Bach's Little Fugue in patrons may call a special Symphony Hall G minor, Ravel's Le Tombeau de Couperin, number. Just dial (617) 638-9495 at any time and Paquito D'Rivera's Tropical Airs. Admis- for a recorded message regarding the current sion is free. For more information, call (617) status of a concert. Please note, too, that tick- 424-6625. et refunds will only be offered for concerts Ronald Knudsen leads the New Philhar- that are cancelled. monia Orchestra in its second 2006-07 "Family Discovery" concert on Saturday, February 10, at 2 p.m. at Babson College in Ticket Resale Wellesley. The program, entitled "Tales of Please remember that subscribers unable Trolls," includes music from Grieg's Peer to attend a particular BSO concert in their Gynt with narrator Jay O'Callahan. Tickets series may call (617) 638-9426 up to one are $14 (discounts for seniors, students, and hour before the concert to make their tickets families). For more information, or to order available for resale. This not only helps tickets, visit www.newphil.org or call (617) bring needed revenue to the orchestra, it 527-9717. also makes your seat available to someone who might otherwise be unable to attend the Access Information for concert. You will receive a mailed receipt Patrons with Disabilities acknowledging your tax-deductible contribu- The Boston Symphony Orchestra has a dedi- tion within three weeks of your call. cated telephone line for disabled patrons who would like to purchase tickets to BSO, Pops, With Thanks or Tanglewood concerts, or who need informa- tion about disability services at Symphony BSO subscription concerts are supported Hall or Tanglewood. This line is (617) 638- in part by a grant from the Boston Cultural 9431 or TDD/TTY (617) 638-9289. Members Council, which is funded by the Massachu- of the BSO's Access Services staff are available setts Cultural Council and administered by to answer the line during business hours and the Mayor's Office of Arts, Tourism, and will answer any inquiries left at other times. Special Events.

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9 JAMES LEVINE James Levine became Music Director of the Boston Symphony Orchestra in the fall of 2004, having been named Music Director Designate in October 2001. He is the orchestra's fourteenth music director since the BSO's founding in 1881 and the first American-born conductor to hold that position. Highlights of his 2006-07 BSO programs (three of which again go to Carnegie Hall) include an American-themed Opening Night program featuring Renee Fleming in Barber's Knoxville: Summer of 1915, Sir James Galway in Bol- com's Lyric Concerto for flute and orchestra, and Dvorak's New World Symphony; the conclusion of the two-season Beethoven/Schoenberg project (this year including concert performances of Beethoven's Fidelio and Schoenberg's Moses und Aron); Bartok's Bluebeards Castle and Berlioz's La Damna- tion de Faust; BSO 125th-anniversary commissions from Gunther Schuller and Charles Wuorinen; and music of Brahms, Harbison, Haydn, Mozart, Ravel, and Schumann. Highlights of Maestro Levine's 2006 Tanglewood season included Beethoven's Ninth Symphony, Schoenberg's Gurrelieder, concert performances of Mozart's Don Giovanni (part of a BSO all-Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra), and the American stage premiere (also with TMC forces) of Elliott Carter's opera What Next? Also at Tanglewood he continued his work with the TMC's Conducting and Vocal Fellows, in classes devoted to orchestral repertoire, Lieder, and opera. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, Perle, Schul- ler, Sessions, and Wuorinen.

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

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philharmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cin-

10 cinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

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

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

11 *Aza Raykhtsaum Robert Barnes Theodore W. and Evelyn Ronald Wilkison Berenson Family chair Michael Zaretsky *Bonnie Bewick Marc Jeanneret Stephanie Morris Marryott and

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

12 *Todd Seeber Suzanne Nelsen Timpani Eleanor L. and Levin H. John D. and Vera M. Timothy Genis Campbell chair, fullyfunded MacDonald chair Sylvia Shippen Wells chair, in perpetuity Richard Ranti endowed in perpetuity in 1974 *John Stovall Associate Principal * Benjamin Levy Diana Osgood Tottenham/ Percussion Hamilton Osgood chair, Frank Epstein fully funded in perpetuity Flutes Peter and Anne Brooke chair, Elizabeth Rowe fully funded in perpetuity Contrabassoon Principal J. William Hudgins Walter Piston chair, endowed Gregg Henegar Peter Andrew Lurie chair, in perpetuity in 1970 Helen Rand Thayer chair fully funded in perpetuity Horns Myra and Robert Kraft chair, Barbara Lee chair endowed in perpetuity in 1 981 James Sommerville Principal Elizabeth Ostling Assistant Timpanist Helen Slosberg/Edna Associate Principal Sagojf Mr. and Mrs. Edward H Linde S. chair, endowed Marian Gray Lewis chair, Kalman chair in perpetuity in 1974 fully funded in perpetuity § Richard Flanagan Richard Sebring Piccolo Associate Principal Harp Margaret Andersen Congleton Cynthia Meyers Pilot chair, fully funded in perpetuity Ann Hobson Evelyn and C. Charles Marran Principal chair, endowed in perpetuity in Daniel Katzen 1979 Elizabeth B. Storer chair, Voice and Chorus fully funded in perpetuity John Oliver Oboes Jay Wadenpfuhl Tanglewood Festival Chorus John P. II and Nancy S. Eustis John Ferrillo Conductor chair, fully funded in perpetuity Principal Alan J. and Suzanne W. Dworsky Mildred B. Remis chair, endowed chair, fully funded in perpetuity in perpetuity in 1975 Jonathan Menkis Mark McEwen Jean-Noel and Mona N. Librarians James and Tina Collias chair Tariot chair Marshall Burlingame Keisuke Wakao §Kevin Owen Principal Assistant Principal Lia and William Poorvu chair, Trumpets fully funded in perpetuity English Horn Thomas Rolfs William Shisler Robert Sheena Principal John Perkel Beranek chair, fully funded Roger Louis Voisin chair, in perpetuity in 1977 in perpetuity endowed Assistant Conductors Peter Chapman Jens Georg Bachmann Clarinets Ford H. Cooper chair, endowed Anna E. Finnerty chair, in perpetuity in 1984 William R. Hudgins fully funded in perpetuity Principal Ludovic Morlot Ann S.M. Banks chair, endowed Assistant Principal in perpetuity in 1977 Benjamin Wright Personnel Managers Scott Andrews Lynn G. Larsen Thomas Sternberg chair Trombones Bruce M. Creditor Thomas Martin Ronald Barron Associate Principal & Principal E-flat clarinet Stage Manager J. P. and Mary B. Barger chair, Stanton W. and Elisabeth K. fully funded in perpetuity John Demick Davis chair, fully funded in Norman Bolter perpetuity Arthur and Linda Gelb chair

Bass Clarinet Bass Trombone Craig Nordstrom Douglas Yeo Farla and Harvey Chet John Moors Cabot chair, Krentzman chair, fully funded fully funded in perpetuity in perpetuity Tuba Bassoons Mike Roylance Richard Svoboda Principal Principal Margaret and William C. Edward A. Taft chair, endowed Rousseau chair, fully funded in perpetuity in 1974 tWA to' in perpetuity

13 I M

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14 BOSTON SYMPHONY ORCHESTRA

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

Thursday, January 18, at 8 Friday, January 19, at 1:30 Saturday, January 20, at 8 Tuesday, January 23, at 8

SIR COLIN DAVIS conducting

MOZART Symphony No. 34 in C, K.338

Allegro vivo Andante di molto Allegro vivace

MOZART Piano Concerto No. 24 in C minor, K.491

Allegro Larghetto Allegretto IMOGEN COOPER

INTERMISSION

HAYDN Symphony No. 102 in B-flat Largo — Vivace Adagio Menuet: Allegro Finale: Presto

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Investment management • Estate and financial planning • Corporate trustee • Estate settlement Wolfgang Amade Mozart Symphony No. 34 in C, K.338

Joannes Chrisostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgango Amadeo about 1 770 and Wolfgang Amade in 1 777, was born in Salzburg, Austria, on January 27, 1 756, and died in Vienna on December 5, 1791. Mozart completed the C major sym- phony, K.338, in Salzburg on August 29, 1 780. The date of the first performance is unknown. The symphony was first heard in the United States in a concert given in New York's Central Park by the Theodore Thomas Orchestra on August 26, 1875, in the series entitled "Thomas Summer Night Concerts.'''' Thomas and the orchestra also gave the Boston premiere, in the old Boston Music Hall on November 17, 1875. Wilhelm Gericke led the first Boston Symphony performances in

March and April 1899, after which it was programmed in BSO concerts by Pierre Monteux, Sir Thomas Beecham, Serge Koussevitzky, Arthur Fiedler, Richard Burgin, G. Wallace Woodworth, Sir Adrian Boult, Jorge Mester, Michael Tilson Thomas, Riccardo Muti, Colin Davis, Christoph Eschenbach, Maurizio Pollini, Dennis Russell Davies, Leon Fleisher (the most recent subscription performances, in November 1988), and James Conlon (the most recent Tanglewood performance, on July 19, 1998). The score calls for two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

This is the last symphony that Mozart wrote in his home town of Salzburg, where he was finding his employment by the antipathetic and brutish Archbishop Colloredo to be more than he could take. Indeed, before long he would leave Salzburg permanently for life in Vienna and for the opportunity to make his mark on a larger stage than Salzburg had to offer. By the beginning of 1781 he had completed and produced in Munich the first of his great operatic scores (Idomeneo , which is finally beginning to take its rightful place in the pantheon of Mozart operas), and he actively looked away from Salzburg for new positions and opportunities to compose.

We do not know when this symphony was first performed; presumably it was intended for the archiepiscopal court in Salzburg. Certainly it is festive in its overall character, especially with the trumpets-and-drums C major fanfares of the outer movements. At

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17 The autumn of the year 2006 denotes the Centennial of the Harvard Medical School Longwood Quadrangle. In celebration, Harvard Medical School wishes to acknowledge the numerous contributions of Boston Symphony Orchestra founder and Harvard

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the same time, though, there is a new expressiveness to Mozart's music here, the dis- covery of C minor even in the midst of the most assertive C major fanfares. Scarcely has the opening movement begun than an A-natural turns unexpectedly into an A-flat, and our major key has become minor. This same expressive turn lies at the core of Schubert's music four decades later; Mozart shows already the essence of its possibilities and in so doing greatly widens the expressive range of the symphony. The phrases seem to grow in larger steps, and their consequences are cast still farther afield. The secondary theme in the dominant key of G takes on a gentle poignancy with its passing chromatic notes. The development is an extended harmonic discussion of the implications of the minor key, thus making the recapitulation sound especially brilliant in its C major return and perhaps with an ironic twist.

With divided violas, and bassoons as the only woodwinds employed, the slow move- ment is unusually dark in color. The texture is almost that of chamber music—and, in fact, Mozart himself made the genre of the string quintet (with two viola parts) uniquely his own only a few years later. Here, too, he borrows from the minor key to enlarge the range of expression—briefly, but with double effectiveness for its effect of understating the mood.

Mozart originally composed a minuet for this symphony, but later tore the music right out of the score (leaving only the first measures, which were on the back of the page that contained the end of the slow movement). It was common enough to omit the minuet in symphonies designed to suit French taste, but for Vienna it would be more normal to have the usual complement of four movements. Alfred Einstein once proposed that a minuet movement in C major (K.409[383f]) composed in Vienna in 1782 was intended by Mozart for performances of this symphony in that city, and the symphony is some- times performed with K.409 inserted as a third movement. But it should be noted that the "added" minuet requires two flutes not otherwise called for in the three-movement version.

The woodwinds and trumpets return for the finale, which begins with a carefree C major tarantella of rushing scales and high exuberance. The exposition is entirely light and lively, making the development section's turn toward the minor so much the more significant. The recapitulation routs the darkness, at least for the moment; there- after only the merest passing shadow is cast upon the brilliant conclusion. —Steven Ledbetter

Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. In 1991 his BSO program notes received an ASCAP/Deems Taylor Award. He now writes pro- gram notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

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20 Wolfgang Amade Mozart Piano Concerto No. 24 in C minor, K.491

Joannes Chrisostomus Wolfgang Gottlieb Mozart, who began calling himself Wolfgango Amadeo about 1 770 and Wolfgang Amade in 1 777, was born in Salzburg, Austria, on January 27, 1 756, and died in Vienna on December 5, 1791. The C minor concerto, K.491, was entered into Mozart's own catalogue of his works on March 24, 1786, and introduced by him at Vienna's

Burgtheater ten days later, on April 3. The first Ameri-

can performance took place in St. Louis on March 1 9, 1868, with Egmont Froelich conducting the Philhar- monic Society (soloist unknown). Carl Zerrahn con- ducted the Harvard Musical Association in the first Boston performance on February 13, 1874; Hugo Leon- hard was the pianist. The concerto was not heard in a

Boston Symphony concert until December 1, 1959, when Charles Munch introduced it with Claude Frank as piano soloist. Subsequent Boston Symphony performances have featured Gabriel Tacchino and Claude Frank with Erich Leinsdorf conducting; Robert Casadesus with William Steinberg; Andre Watts with Riccardo Muti; Vladimir Ashkenazy as soloist/conductor; Alicia de Larrocha with Hiroshi Wakasugi; Andre Previn as both soloist and conductor (including the most recent subscription performances, in Novem- ber 2000); Andrds Schiff with Charles Dutoit; Horacio Gutierrez with Andre Previn; Malcolm Frager with Yuri Temirkanov; Alicia de Larrocha with Leonard Slatkin; Murray Perahia with Andrew Davis; Peter Serkin with Seiji Ozawa; and Richard Goode with Edo de Waart (the BSO's most recent Tanglewood performance, on July 30, 2004). More recently at Tanglewood, Peter Serkin was soloist on August 21, 2005, with Peter Oundjian conducting the Orchestra of St. Luke's. In addition to the solo piano, the concerto is scored for one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. No cadenzas by Mozart survive; at these performances, Imogen Cooper plays cadenzas by Alfred Brendel.

Mozart composed three concertos during the time he was working on Le nozze di Fi- garo in the winter of 1785-86. The first two of these (K.482 in E-flat and K.488 in A) were, to some extent, retrenchments to a decorative lyric style that would be sure to please the Viennese, as if Mozart realized that the very symphonic pair of concertos that immediately preceded them—K.466 in D minor and K.467 in C major—had stretched the limits of his audience's comprehension. Both of the first two concertos in the triptych exploit new instrumental colors (they have clarinets for the first time in Mozart's concertos, though they omit oboes) and boast an incredible wealth of fresh melodic ideas. The third of the concertos, however, in the key of C minor, which was always, in Mozart's mind, a tonality for music of particularly dramatic character, reverts to the symphonic elaboration of the earlier concertos without, however, losing the new

coloristic interest; it is the only Mozart concerto to have both oboes and clarinets.

At the same time, it is unusually single-minded in its concentration on the principal thematic material presented at the very outset—a rare procedure for Mozart, especially in the piano concertos, where a multiplicity of ideas usually helps to differentiate solo- ist and orchestra. But here, possibly influenced by Haydn's tendency to monothemati- cism, Mozart composes a work that is tightly organized thematically—Haydn's tech- nique, but in Mozart's style. The tense emotional storms called forth by the tonality, the frequent chromatic movement, and the thematic concentration bespeak Mozart at every moment. The symphonic development, built up of fragments of the first theme, cost him a great deal of effort, as the much-cancelled and rewritten manuscript reveals.

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22 The introductory orchestral ritornello is so completely devoted to the opening materi- al and its developments that there is hardly a hint of any second theme. Even when the piano takes off on its own exposition, the relative major key of E-flat does not bring with

it a memorable new melody, just a momentary relief from chromatic intensity—and the relief is indeed momentary.

After this tempest of uncertainty, the slow movement brings the air of something al- most too pure to exist in the real world, as exemplified by the passions of the opening movement. The play of the woodwinds is particularly felicitous; for much of the move- ment, even though he has both clarinets and oboes at hand, Mozart builds his wood- wind interludes with flute on top, bassoon on the bottom, and either clarinets or oboes in the middle. Gradually they begin to impinge upon one another until all of the wood- winds (supported by the horns), like balmy zephyrs, bring in the soloist for another statement of his theme.

In Mozart's earlier minor-key piano concerto (K.466 in D minor) the finale had been light enough to disperse the memory of the opening movement's stormy qualities. In this concerto, however, the finale—a theme and six variations plus coda—draws upon many of the same chromatic gestures that made the opening so powerful. There is variety here, to be sure, but many reminders of the overall mood, even when, after the cadenza, the piano unexpectedly takes off in a rollicking—or what would normally be a rollick- ing—6/8 version of the theme to bring the concerto to its conclusion.

The C minor concerto is one of those works in which Mozart approached most closely to the romantic expression of the next generation. It is not surprising that Beethoven is

known to have especially admired it. Once, in the summer of 1799, he was walking through the Augarten in Vienna with the visiting pianist and composer J.B. Cramer when they heard a performance of this concerto. Beethoven drew Cramer's attention to a particular passage at the end of the first movement and cried, "Cramer, Cramer, we

shall never be able to do anything like that!" It is most likely that the passage Beetho- ven had in mind was that surprising moment after the first-movement cadenza when the pianist enters again. (Up until this work, the soloist's job was normally finished after playing the cadenza, and the orchestra would normally conclude the movement with a more-or-less perfunctory final ritornello.) In this case, what follows the cadenza is the big surprise: rather than ending with fortissimo orchestral statements and flashy virtu- osic fireworks, all is suddenly misty and mysterious, vanishing in a whisper. How unlike any concerto that had ever been written! Small wonder that when Beethoven came to write his own piano concerto in C minor soon after hearing the performance in the Augarten, he should reintroduce the piano in a similar way, with his own surprising, quiet culmination, thus overtly signaling his recognition of the grand tradition and his indebtedness to the old master. —Steven Ledbetter

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Joseph Haydn Symphony No. 102 in B-flat

Franz Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. He wrote the Symphony No. 102 in 1794 and led the first performance on February 2, 1795, at the Kings Theatre, London. Haydn symphonies began to be played in America in the 1 780s and 1 790s, in Boston as early as 1 792; they were, however, seldom clearly identified,

and it is impossible in most instances to establish early performance dates with any precision. The present sym- phony was on the first pair of concerts the Boston Sym- phony ever gave; the dates were October 21 and 22, 1881, and Georg Henschel conducted. Henschel, by then Sir George, returned at the age of eighty to lead the opening concerts of the orchestra s fiftieth season on October 10 and 11, 1930, and conducted this work on that occasion as well. The BSO has also played it under Wilhelm Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Karl Muck, Pierre Monteux, Serge Koussevitzky (who made the first and what was for many years the only recording), Richard Burgin, Leonard Bernstein, Charles Munch, Rafael Kubelik, Seiji Ozawa, Joseph Silverstein, Kurt Masur, and Andre Previn (the most recent Tanglewood performance, on August 4, 1985, and then after that in subscription perform- ances in February 1998 and, most recently, October 2002). The score calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

The story is familiar—the death of the aged Prince Nicholas Esterhazy in 1790, the disbanding by his son of most of his musical household, the pension granted to the fifty- eight-year-old Haydn (then just about to complete three decades of service to the family) and the continuance of his Kapellmeister title as a sinecure, the composer's delight in his new-found liberty, his removal to Vienna, the appearance one December morning of a stranger who announced, "I am Salomon from London and I have come to fetch you."

Johann Peter Salomon, born 1745 in Bonn, an admirer of Haydn since the 1770s, had settled in London in 1781 and was active and successful there as a violinist and impresario. He happened to be on the continent when he heard of Esterhazy's death and he lost no time in setting out for Vienna, where he made Haydn a splendid offer £1,000 for an opera, six symphonies, and some miscellaneous pieces, plus a £200 guar- antee for a benefit concert. That story, too, is a familiar one—the farewell from Mozart at which both shed tears, the rough crossing from Calais to Dover ("But I fought it all off and came ashore without—excuse me—actually being sick," he wrote to his friend Marianne von Genzinger), the stunning success of the London concerts and the sym- phonies (nos. 93-98) he wrote for them, the honorary degree from Oxford, the gentle love affair with Mrs. Rebecca Schroeter, the news of Mozart's death, the return to Vienna in July 1792. There, an ungifted, unrigorous teacher, he briefly gave lessons to the twenty-one-year-old Beethoven, an unhappy encounter. Mozart was gone and so was Frau von Genzinger, almost as young. Haydn's marriage and his now fourteen-year-old affair with the singer Luigia Polzelli were as wretched and draining as ever. He was happy, therefore, to accept Salomon's invitation to return to London, and on January 19, 1794, he set out once more for a stay of a year and a half. For Salomon he produced three more symphonies (nos. 99-101) and another three (nos. 102-104) for a series of concerts organized by the violinist and composer Giovanni Battista Viotti (1755-1824). For other occasions he wrote piano sonatas, trios, and songs to English texts. Though Viotti's concerts were less well organized and less well attended than Salomon's, the three symphonies presented at them enjoyed immediate and immense success at con-

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certs in February, March, and April 1795. At the premiere of this one, during the finale, a chandelier fell in the middle of the auditorium, but no one was hurt as the audience had all rushed forward to get as close a look as they could at Haydn, who was conduct- ing from the keyboard. The symphony was at once dubbed The Miracle, a title later mistakenly transferred to No. 96. An encore of the finale was demanded and granted, but not only because of the chandelier: encores even of two movements were not uncommon at those Haydn premieres in London.

The first sound is a B-flat five octaves deep unmeasured but long, and presumably to be fol- lowed by a little breath. Violins and violas contin- ue with a slow phrase of elegiac cast. That phrase, speeded up and with all pathos removed, propels the Vivace into being, while a unison, always with a silence on either side, constantly disrupts the flow of the movement. Not only is the ornate melody of the Adagio of exceptional eloquence, the sheer sound of the movement is the most remarkable Haydn ever imagined: trumpets and drums are muted, a solo cello injects its gently penetrating timbre into the middle of the texture, and just before the end, the two trumpets contribute a Giovanni Battista Viotti, for whom sound so extraordinary that it still tends to frighten Haydn wrote his last three sym- conductors, many of whom remove it. This move- phonies (Nos. 102, 103, and 104) ment, by the way, is a transcription of a piano trio written in London a little earlier. A forceful minuet is spelled by a gentler Trio. The finale is one of Haydn's quickest and funniest, the double upbeat to the theme being designed for wonderful "so when is it going to come back?" games. But the drama and the harmonic surprises of the first two movements insist on not being forgotten. If Bee- thoven didn't get much out of his lessons with Haydn, he learned plenty from his scores. —Michael Steinberg

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

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The important modem biography of Mozart is Maynard Solomon's Mozart: A Life (Harper- Perennial paperback). Relatively new to the Mozart bibliography are Mozart: His Life and Work, by Julian Rushton, in the Master Musicians series (Oxford); the late Stanley Sadie's Mozart: The Early Years, 1756-1781 (Oxford), and Mozart's Women: His Family, his Friends, his Music, by the conductor Jane Glover (HarperCollins). Sadie's Mozart article from The New Grove Dictionary (1980) was published separately as The New Grove Mozart (Norton paperback). The revised entry in the 2001 Grove is by Sadie and Cliff Eisen; this has now been published separately as a new New Grove Mozart (Oxford paperback). Alfred Einstein's Mozart: The Man, the Music is a classic older study (Ox- ford paperback). The more recent Mozart: A Cultural Biography, by Robert Gutman, is also important (Harcourt Brace Jovanovich/Harvest paperback). "Musical lives," a series of readable, compact composer biographies from Cambridge University Press, includes John Rosselli's The life of Mozart (Cambridge paperback). Among other books on the composer, The Mozart Compendium: A Guide to Mozart's Life and Music, edited by H.C. Robbins Landon, is a useful resource; this includes an entry by Cliff Eisen on the symphonies and an entry by Robert Levin on the concertos (Schirmer). Volkmar Braunbehrens's Mozart in Vienna, 1781-1791 provides a full picture of the composer's

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C/J Composers' Notes hosted by lisa bielawa, composer in residence 7:00

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final decade (HarperPerennial paperback). Peter Clive's Mozart and his Circle: A Bio- graphical Dictionary is a handy reference work with entries about virtually anyone you can think of who figured in Mozart's life (Oxford).

Neal Zaslaw's Mozart's Symphonies: Context, Performance Practice, Reception provides a detailed survey of Mozart's works in the genre (Oxford paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter by H.C. Robbins Landon on "The Symphonies of Mozart" (Oxford paperback). A program note on the Symphony No. 34 is included among Donald Francis Tovey's Essays in Musical Analysis (Oxford).

Choices for a recording of the Symphony No. 34 include Daniel Barenboim conduct- ing the English Chamber Orchestra (EMI), Frans Briiggen leading the period-instru- ment Orchestra of the 18th Century (Philips), Nikolaus Harnoncourt's with the Royal Concertgebouw Orchestra of Amsterdam (Warner Classics), Christopher Hogwood lead- ing the period-instrument Academy of Ancient Music (Oiseau Lyre), and Sir Neville Marriner's with the Academy of St. Martin in the Fields (Philips). Serge Koussevitzky recorded the Symphony No. 34 with the Boston Symphony Orchestra in 1936 for RCA (reissued by Pearl on CD).

There is a volume by Philip Radcliffe on Mozart Piano Concertos in the series of BBC Music Guides (University of Washington paperback). Denis Matthews's chapter on "Mozart and the Concerto" in A Guide to the Concerto, edited by Robert Layton, offers a helpful overview (Oxford University Press). Despite its decorative language typical of a much earlier era, Cuthbert Girdlestone's Mozart and his Piano Concertos remains use- ful and evocative (Dover paperback). Another useful older book is Arthur Hutchings's A Companion to Mozart's Piano Concertos (Oxford paperback). Michael Steinberg's note on the C minor piano concerto, K.491, is in his compilation volume The Concerto— Listener's Guide (Oxford paperback). Donald Francis Tovey's note on K.491 is among his Essays in Musical Analysis (Oxford).

Noteworthy recordings of the C minor piano concerto (listed alphabetically by soloist) include Geza Anda's as soloist and conductor with the Mozarteum Orchestra of Salzburg (Deutsche Grammophon), Daniel Barenboim's as soloist and conductor with both the English Chamber Orchestra (EMI) and the Berlin Philharmonic (Teldec), Alfred Brendel's with Neville Marriner and the Academy of St. Martin in the Fields (Philips) and with Sir Charles Mackerras and the Scottish Chamber Orchestra (also Philips), Jeno Jando's with Andras Ligeti and the Concentus Hungaricus (budget-priced Naxos), Murray Pera- hia's as soloist and conductor with the English Chamber Orchestra (CBS/Sony), Rudolf Serkin's with Claudio Abbado and the London Symphony Orchestra (Deutsche Gram-

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The main resource for information on Haydn and his music is the massive, five-volume study Haydn: Chronology and Works by H.C. Robbins Landon. The London symphonies (including the Symphony No. 102) are treated in Volume III, "Haydn in England," which chronicles the years 1791-1795 (Indiana University Press). The Haydn entry in the revised (2001) New Grove Dictionary of Music and Musicians includes a new arti- cle by James Webster and a work-list by Georg Feder. This has now appeared as a sin- gle paperback volume, The New Grove Haydn (Grove's Dictionaries, Inc.). The entry from the 1980 edition of Grove—article by Jens Peter Larsen, work-list by Feder—was reprinted as an earlier version of The New Grove Haydn (Norton paperback). Another convenient introduction is provided by Rosemary Hughes's Haydn in the Master Musi- cians series (Littlefield paperback). Karl Geiringer's Haydn: A Creative Life in Music has been reprinted by University of California Press. (Geiringer also wrote important biographies of J.S. Bach and Johannes Brahms.) If you can track down a used copy, L&szl6 Somfai's copiously illustrated Joseph Haydn: His Life in Contemporary Pictures provides a fascinating view of the composer's life, work, and times (Taplinger).

Important older sets of the twelve London symphonies include Sir Colin Davis's with the Royal Concertgebouw Orchestra of Amsterdam (Philips) and Eugen Jochum's with the London Philharmonic (Deutsche Grammophon). Adam Fischer's set of the complete Haydn symphonies with the Austro-Hungarian Haydn Orchestra offers incredible value as well as good, solid performances (Brilliant Classics, bargain-basement-priced on thirty-three discs; originally on Nimbus). Period-instrument traversals of Haydn's sym- phonies have been undertaken by Christopher Hogwood with the Academy of Ancient Music (Oiseau-Lyre) and by Roy Goodman with the Hanover Band (Hyperion). Individual recordings worth investigating of the Symphony No. 102 include Leonard Bernstein's with the New York Philharmonic (Sony Classical), Charles Mackerras's with the Or- chestra of St. Luke's (Telarc), and Mogens Woldike's with the Vienna State Opera Orchestra (Vanguard Classics). Serge Koussevitzky recorded the Symphony No. 102 with the Boston Symphony Orchestra in 1940 for RCA. —Marc Mandel

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Sir Colin Davis, CH, CBE Principal guest conductor of the Boston Symphony Orchestra from 1972 to 1984, Sir Colin Davis was principal conductor of the London Symphony Orchestra (LSO) from 1995 to 2006 and became President of the LSO in January 2007. He is also honorary con- ductor of the Dresden Staatskapelle. Sir Colin made his Boston Symphony debut in February 1967 and returned to the BSO podi- um for the first time since his tenure as principal guest conductor in November 2003, leading symphonies of Haydn and Elgar. Prior to this season's two programs, his most recent appearances with the orchestra were in October 2005, when he led Mozart's Posthorn Serenade and Sir Michael Tippett's oratorio A Child of our Time. Highlights of his 2005-06 season included a Proms Concert with an orchestra of students from New York's Juilliard School and London's Royal Academy of Music, Sibelius's Kullervo and Walton's Symphony No. 1 with the LSO in London and New York, and concerts with the New York Philhar- monic, Boston Symphony Orchestra, Czech Philharmonic, Royal Concertgebouw Orches- tra of Amsterdam, Dresden Staatskapelle, and Orchestre National de France. He gave performances of Elgar's The Dream of Gerontius and Beethoven's Missa Solemnis, Mass in C, and Fidelio with the LSO. During this past summer, Sir Colin conducted Mozart's

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35 36 The Marriage of Figaro at Covent Garden and The Magic Flute with the LSO in Spain. The current season includes Berlioz's Romeo et Juliette with the Orchestre National de France in Paris, Berlioz's UEnfance du Christ and Handel's Messiah with the LSO, and concerts with the Boston Symphony Orchestra and New York Philharmonic. He returns to London for Berlioz's Benvenuto Cellini in June with the LSO and Mozart's Cost fan tutte at Covent Garden in July. Sir Colin Davis has recorded widely with Philips, BMG, and Erato. In 2005 his recording of Verdi's Falstajf with the LSO won the Best Opera Grammy. Other recent releases on LSO Live include Smetana's Ma Vlast, Sibelius s Kullervo, Walton's Symphony No. 1, and Elgar's The Dream of Gerontius, with Beethoven's Fidelio and Missa Solemnis scheduled to be released soon. Sir Colin has been awarded international honors by Italy, France, Germany, and Finland. He was named a Member of the Order of the Companions of Honour in the Queen's Birthday Honours 2001. He has also received Brit Awards and was given the Yehudi Menuhin Prize for working with young people by the Queen of Spain in Madrid in 2003. During his career Sir Colin conducted the BBC Scottish Orchestra, moved on to Sadler's Wells Opera House in 1959, and spent four years as chief conductor of the BBC Symphony Orchestra from 1967 to 1971. He became music director of the Royal Opera House, Covent Garden, in 1971 and principal guest conduc- tor of the Boston Symphony Orchestra in 1972. He was with the Bavarian Radio Symphony Orchestra from 1983 to 1992, was principal guest conductor of the New York Philharmonic

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38 from 1998 to 2003, and has been honorary conductor of the Dresden Staatskapelle since 1990. Sir Colin Davis was born in Weybridge, Surrey, in 1927.

Imogen Cooper Imogen Cooper has established a reputation as one of the finest interpreters of the classical repertoire. Her engagements for the current season include a return visit to the Boston Symphony Or- chestra for subscription concerts with Sir Colin Davis as well as performances with the City of Birmingham Symphony Orchestra under Vassily Sinaisky and Beethoven concerts as both conductor and soloist with the Britten Sinfonia. Following successful debut recitals in San Francisco and at New York's Carnegie Hall in May 2006, she makes her solo recital debut in Chicago's Orchestra Hall and performs recital and chamber repertoire in the UK, France, and the Netherlands. Previous engagements have included the New York Philharmonic under Sir Colin Davis, the Vienna Philharmonic under Sir Simon Rattle, and appearances with the Royal Concertgebouw, Leipzig Gewandhaus, Dresden Staatskapelle, and NHK symphony orchestras. On tour she has performed with the Camerata Salzburg and the Australian and Orpheus chamber orchestras. Ms. Cooper has played with all the major British orchestras, including the Philharmonia with Christoph Eschenbach and the London Philharmonic with Mark Elder at the BBC Proms. With the Northern Sinfonia she has undertaken a long-term project of performing and conducting Mozart concertos. Imogen Cooper has given recitals in Paris, Vienna, Washington, Philadelphia, Rotterdam, Prague, and at London's Wigmore and Queen Elizabeth halls. An advocate of new music, she pre- miered Thomas Ades's Traced Overhead and Deirdre Gribbin's Decorated Skin at the Cheltenham International Festival. She also collaborated with members of the Berlin Philharmonic in the premiere of the quintet Voices for Angels written by the ensemble's viola player, Brett Dean. She regularly collaborates with baritone Wolfgang Holzmair, having performed in recital and in a Mozart-Schubert-Mahler project with the Scottish Chamber Orchestra. For Philips Classics they have recorded Schubert's Schwanengesang, Winterreise, and Die schone Miillerin; songs by Haydn and Mozart and Beethoven (An die feme Geliebte), and Schumann's Lieder on poems by Heine. Their disc of songs by Clara Schumann and Robert Schumann's Kerner-Lieder was short-listed for the Gramophone Awards in 2002, and their most recent release is a disc of Lieder on poems of Eichendorff. Ms. Cooper also performs regularly with the Belcea Quartet and collaborates frequently with the cellist Sonia Wieder-Atherton. They have recorded works by Rachmaninoff, Faur£, Franck, and Schubert (BMG France) and a forthcoming two-disc set of Brahms and Bach. Ms. Cooper's solo discography includes six CDs of the piano works from Schu- bert's last six years (Ottavo); a box set entitled "Imogen Cooper and Friends," encompass- ing solo music, chamber works, and Lieder (Philips), and a recording of Mozart concertos with the Northern Sinfonia (Avie). Imogen Cooper made her BSO debut at Tanglewood in July 1991 with Mozart's Piano Concerto No. 18 in B-flat, K.456, subsequently returning for her subscription series debut in March 1995 (playing Mozart's concerto K.450 in B-flat, No. 15) and then as soloist in Schumann's Piano Concerto in Boston and at Car- negie Hall the very next month. She returned to Tanglewood with the Scottish Chamber Orchestra in August 2002 (playing Mozart's B-flat concerto, K.456, in Ozawa Hall) and appeared with the BSO most recently in August 2006, playing Beethoven's Piano Concerto No. 1 during the BSO's final weekend of the 2006 Tanglewood season.

39 40 rem Benefactors

ie building of his new symphony for Boston, the BSO's founder and first bene- factor, 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 donations 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 permanent recogni- tion as Great Benefactors of this great orchestra.* For more information, please contact Nancy Baker, Director of Major and Planned Giving, at (617) 638-9269.

Mr. and Mrs. Harlan E. Anderson Harvey Chet and Farla Krentzman Dorothy and David B. Arnold, Jr. The Kresge Foundation AT&T Liz and George Krupp Bank of America Bill and Barbara Leith Mr. and Mrs. J.P. Barger Liberty Mutual Foundation, Inc. Mr. and Mrs. George D. Behrakis Joyce and Edward Linde Gabriella and Leo Beranek Estates of John D. and Vera M. George and Roberta Berry MacDonald Jan Brett and Joseph Hearne Nancy Lurie Marks Foundation Peter and Anne Brooke Kate and Al Merck Catherine and Paul Buttenwieser Mr. and Mrs. Nathan R. Miller Chiles Foundation Richard P. and Claire W. Morse

Mr. John F. Cogan, Jr. and Ms. Mary L. Foundation Cornille William Inglis Morse Trust Mr. Julian Cohen National Endowment for the Arts Commonwealth of Massachusetts NEC Corporation Mr. and Mrs. William H. Congleton Mrs. Robert B. Newman Country Curtains Mrs. Mischa Nieland and Dr. Michael L. John and Diddy Cullinane Nieland Lewis S. and Edith L. Dabney Megan and Robert O'Block Mr. and Mrs. Stanton W. Davis Mr. and Mrs. Norio Ohga Estate of Mrs. Pierre de Beaumont William and Lia Poorvu Estate of Elizabeth B. Ely Carol and Joe Reich EMC Corporation Susan and Dan Rothenberg John P. II and Nancy S. Eustis Estate of Wilhelmina C. Sandwen The Fairmont Copley Plaza and Fairmont Dr. Raymond and Hannah H. Schneider Hotels & Resorts Carl Schoenhof Family Shirley and Richard Fennell Kristin and Roger Servison

Fidelity Investments Ruth and Carl J. Shapiro Estate of Verna Fine Miriam Shaw Fund Mr. and Mrs. John H. Fitzpatrick Ray and Maria Stata Estate of Anna E. Finnerty Thomas G. Sternberg Germeshausen Foundation Miriam and Sidney Stoneman The Ann and Gordon Getty Foundation Estate of Miss Elizabeth B. Storer Estate of Marie L. Gillet Diana 0. Tottenham The Gillette Company Stephen and Dorothy Weber Mrs. Donald C. Heath Roberta and Stephen R. Weiner Estate of Francis Lee Higginson The Helen F. Whitaker Fund Susan Morse Hilles Mr. and Mrs. John Williams Estate of Edith C. Howie Estate of Mrs. Helen Zimbler John Hancock Financial Services Anonymous (12) George H. Kidder Hist as of November 28, 2006

41 Support the BSO

Help us meet the Challenge

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

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

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

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

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

^friends ..,.. / BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA 2006-2007 SEASON

gginson Society

igginison Society embodies a deep commitment to supporting musical excellence continuing the legacy of Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson. The BSO is grateful to Higginson Society members whose investment during the 2005-06 season provided $2.9 million to support the Orchestra. We acknowl- edge the generosity of current Higginson Society donors listed below, whose gifts were received by December 17, 2006.

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

appassionato-$ioo,ooo and above

The Boston Foundation Mr. and Mrs. Nathan R. Miller virtuoso-$50,ooo to $99,999

Mr. and Mrs. George D. Behrakis Mr. and Mrs. John S. Reed Peter and Anne Brooke

ENCORE-$25,000 to $49,999

Jan Brett amd Joseph Hearne Mr. and Mrs. Jeffrey E. Marshall Gregory E. Bulger Joseph C. McNay John and Diddy Cullinane Mrs. August R. Meyer William and Deborah Elfers Megan and Robert O'Block Mr. and Mrs. Steven S. Fischman Mr. Irving W. Rabb The Gomidas Organ Fund, Inc. Susan and Dan Rothenberg The Highland Street Fund Stephen and Dorothy Weber Mr. and Mrs. Stephen R. Karp Roberta and Stephen R. Weiner

Debbie and Ted Kelly Rhonda and Michael J. Zinner, M.D.

Joyce and Edward Linde Anonymous (1) Mr. and Mrs. John M. Loder

MAESTRO-$15,000 to $24,999

Harlan and Lois Anderson Liz and George Krupp Gabriella and Leo Beranek Richard and Susan Landon William David Brohn Bill and Barbara Leith Samuel B. and Deborah D. Bruskin Mrs. Sally Lupfer Catherine and Paul Buttenwieser Kate and Al Merck

Mr. John F Cogan, Jr., and Ms. Mary L. Cornille Carmine and Beth Martignetti Cynthia and Oliver Curme Annette and Vincent O'Reilly Dr. and Mrs. Philip D. Cutter William and Lia Poorvu

Mr. and Mrs. Francis W. Hatch, Jr. Louise C. Riemer Mr. Paul L. King Kristin and Roger Servison

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44 MFXm

The Higginson Society (continued)

MAESTRO-$1 5,000 to $24,999 (continued)

Mr. and Mrs. Samuel Thorne Drs. Richard and Judith Wurtman

Robert C. Winters Anonymous (2)

patron s-$io,ooo to $14,999

Dorothy and David Arnold Mr. and Mrs. Raymond C. Green Ms. Lucille Batal Mr. Timothy P. Home George and Roberta Berry Prof, and Mrs. Paul Joskow Jim and Nancy Bildner Mr. and Mrs. George H. Kidder Mrs. Linda Cabot Black Mrs. Harvey Krentzman

Mr. and Mrs. John M. Bradley Dr. and Mrs. Frederick H. Lovejoy, Jr. Alan S. and Lorraine D. Bressler Anne R. Lovett and Stephen G. Woodsum Ronald and Ronni Casty Rhoda V. Mclntyre

Mrs. Florence C. Chesterton-Norris Richard P. and Claire W. Morse Foundation Mr. Joseph M. Cohen Mrs. Robert B. Newman Mr. and Mrs. Abram T. Collier Jane and Neil Pappalardo Don and Donna Comstock Mrs. Daniel Pierce Mrs. William H. Congleton John and Susanne Potts

Mr. and Mrs. James C. Curvey Carole and Edward I. Rudman

Lewis S. and Edith L. Dabney Ruth and Carl J. Shapiro Wayne Davis and Ann Merrifield Mr. and Mrs. Ross E. Sherbrooke Mr. and Mrs. Miguel de Braganca Mr. and Mrs. Christopher Smallhorn Robert and Evelyn Doran Ray and Maria Stata Roger and Judith Feingold Mr. and Mrs. Daniel Waintrup Mrs. Bruni Fletcher-Koch Mr. and Mrs. David C. Weinstein Richard and Joy Gilbert James and Jeanne Westra Thelma and Ray Goldberg Henry and Joan T. Wheeler

Roberta and Macey Goldman Anonymous (2)

sponsors-$5,ooo to $9,999

Eleanor Campbell and Hon. Levin Campbell Howard and Julia Cox

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

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

Helaine Allen Tamara P. and Charles H. Davis II Joel and Lisa Schmid Alvord Mr. and Mrs. Peter A. Diamond Mr. and Mrs. Walter Amory Charles and JoAnne Dickinson Mr. and Mrs. Sherwood E. Bain Nina L. and Eugene B. Doggett Mr. Christopher Barton Alan R. Dynner Doreen and Charles Bilezikian Mrs. Priscilla Endicott Brad and Terrie Bloom Pamela D. Everhart

Mr. and Mrs. John Bok Nancy J. Fitzpatrick and Lincoln Russell Mark G. and Linda Borden Mr. and Mrs. Dean W. Freed Barbara and Gary Bowen Myrna H. and Eugene M. Freedman Timothy G. Brown and Frank Rioux Mr. John Gamble Mr. and Mrs. William T. Burgin David Endicott Gannett Mr. Charles Christenson Jane and Jim Garrett Loring and Katinka Coleman Mrs. Bernice B. Godine

Bea and Woolsey Conover Carol R. and Avram J. Goldberg Consulate of The Republic of Hungary Mr. and Mrs. Mark Goldweitz

Continued on page 47 45 Seniors are Singing our

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46 The Higginson Society (continued)

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

Mr. and Mrs. Wallace K. Graham Mr. and Mrs. Walter Pressey Mr. and Mrs. Robert S. Green Mr. and Mrs. James D. Price Mr. and Mrs. Ulf B. Heide Peter and Suzanne Read Carol and Robert Henderson Mr. and Mrs. Laurence S. Reineman Patricia and Galen Ho Donna Riccardi and Douglas Green Mrs. Marilyn Brachman Hoffman Howard and Sharon Rich Mr. and Mrs. Charles Hood Elaine and Jerome Rosenfeld Yuko and Bill Hunt Debbie and Alan Rottenberg Cerise and Charles Jacobs Mrs. George R. Rowland Mr. Ernest K. Jacquet Maureen and Joe Roxe, The Roxe Foundation Ms. Eunice Johnson and Mr. Vincent Panetta Mr. Sean Rush Holly and Bruce Johnstone Roger and Norma Saunders Edna S. and Bela T. Kalman Mr. Benjamin Schore and the late Mr. and Mrs. Brian Keane Kira Founier-Schore Mrs. Barbara N. Kravitz Mr. and Mrs. Robert G. Scully Mr. and Mrs. Peter E. Lacaillade Mr. and Mrs. Douglas H. Sears

Cynthia and Robert J. Lepofsky Ms. Eileen C. Shapiro and Dr. Reuben Eaves Don and Gini LeSieur Mr. Marshall H. Sirvetz Shari Loessberg and Christopher Smart Gilda and Alfred Slifka

Mr. and Mrs. John F. Magee Mrs. Frederick J. Stare Dr. and Mrs. Joseph B. Martin Ira and Jacquie Stepanian Dr. Robert and Jane B. Mayer Patricia Hansen Strang JoAnn McGrath Mr. and Mrs. Theodore H. Teplow

Dr. Martin C. Mihm, Jr. Mr. and Mrs. Mark D. Thompson

Professor Robert H. and Dale Mnookin Mr. and Mrs. Charles W. Trippe, Jr. Mr. and Mrs. John D. Montgomery Robert A. Vogt Mr. and Mrs. Paul M. Montrone Mrs. Arthur A. Wahmann

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

William and Helen Pounds Anonymous (6) Dr. Tina Young Poussaint and Dr. Alvin Poussaint

MEMBERS-$2,500 to $4,999

Mrs. Herbert Abrams Diane M. Austin and Aaron J. Ms. Jennifer I. Bessin Bob and Pam Adams Nurick Bob and Karen Bettacchi Mr. James E. Aisner Mr. James C. Ayer Mrs. Ben Beyea Harl and Lois Aldrich Sandy and David Bakalar Mr. and Mrs. Philip W Mr. and Mrs. William F. Ms. Hope L. Baker Bianchi

Allen, Jr. Judith and Harry Barr Benjamin and Annabelle Mrs. Rae D. Anderson Richard and Sally Bartley Bierbaum Mr. Julian D. Anthony John and Molly Beard Mr. and Mrs. Jordan Birger Mr. and Mrs. Stephen Anthony Martin and Kate Begien Mrs. Stanton L. Black Marjorie Arons-Barron and Deborah Davis Berman and Mr. and Mrs. Joseph M. Blair James H. Barron William H. Berman Ms. Sue Blessing

Bennett Aspel, M.D., and Mr. William I. Bernell Mr. and Mrs. Stephen P. Ms. Joyce Plotkin Wally and Roz Bernheimer Bradley Mr. and Mrs. Laurence Asquith Leonard and Jane Bernstein Gertrude S. Brown

Continued on page 49 47 "

Gome hear the artistry of the Boston Symphony Orchestra's Principal Bassist Edwin Barker and members of the Concord Chamber Players

Sunday, January 21, 3pm, at the Concord Academy Performing Arts Center, 166 Main Street, Concord

• Duo in D Major for Cello and Bass by Gioacchino Rossini • Passacaglia for Violin and Bass by Handel-Halvorsen • Quintet for Piano and Strings in A Major "Trout" D.667 by Franz Schubert

Edwin Barker, Principal Bassist of the Pre-concert lecture with eminent Boston Symphony Orchestra, has been musicologist Steven Ledbetter begins at described by the Boston Globe as pos- 2:00 PM. sessing "everything that makes great For tickets and other information, call - artistry tone, technical equipment, tem- (978)371-9667 perament, repose, a keen sense of rhythm, or on-line: www.concordchambermusic.org andfine conception.

Concord Chamber Players are: Concord Chamber Wendy Putnam, violin, Steven Ansell, i viola, Michael Reynolds, cello, Vytas USK Baksys, piano. o c

Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Cafe.

To purchase, visit www.bso.org, the Symphony Hall Box Office, or call

SymphonyCharge at (617) 266-1200.

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

Mr. and Mrs. Donald Bruck Mr. and Mrs. Lawrence K. Fish Stephen K. and Mary P. Jones

Mrs. Irving S. Brudnick Dr. and Mrs. Henry L. Foster Mr. and Mrs. Michael Joyce Dr. Matthew Budd and Mr. Robert C. Frank Mr. and Mrs. Peter H. Kamin Ms. Rosalind Gorin Mr. Stefan M. Freudenberger Michelle and Steven Karol

Rick and Nonnie Burnes Mr. and Mrs. Thomas J. Mrs. S. Charles Kasdon

Mr. and Mrs. Kevin T. Galligan, Jr. Mr. John F. Kelley Callaghan Mr. Martin Gantshar and Ms. Joan B. Kennedy Ms. Martha Corbett Ms. Marcia Sprague Ms. Elizabeth C. Kent

Gourmet Caterers, Inc. Mr. and Mrs. M. Dozier Mr. and Mrs. Thomas P. King

David and Karin Chamberlain Gardner Mrs. Mary S. Kingsbery Mr. and Mrs. James M. Clark Rose and Spyros Gavris Gordon and Mary Ford Mr. and Mrs. Ronald C. Clark Arthur and Linda Gelb Kingsley Mr. and Mrs. Frederic M. Mr. Frank S. Gilligan and Ms. Barbara M. Kirchheimer

Clifford Mr. Mario Russo Seth A. and Beth S. Klarman Ms. Pamela Ormsbee Giroux Dr. and Mrs. Lawrence H. Mr. Mason J. 0. Klinck, Sr. Cohn Mr. and Mrs. Robert Gittens Sue and Harry Kohn Mr. Stephen Coit Mr. and Mrs. Robert Glauber Mr. Meyer Koplow Mrs. I. W. Colburn Jordan and Sandy Golding Mr. and Mrs. Melvin Kutchin Marvin and Ann Collier Mr. and Mrs. Daniel S. Mr. and Mrs. Benjamin H. Victor Constantiner Gregory Lacy Mr. and Mrs. John L. Cooper Mr. and Mrs. David Griesinger Mrs. Eleanor Williams Ladd Joanna Inches Cunningham Mr. and Mrs. Edward Groden Roger and Myrna Landay Professor and Mrs. Stephen Mr. and Mrs. Graham Gund Mr. and Mrs. Robert A. Crandall Mr. John Thomas Hailer Lawrence

Loretto and Dwight Crane Ms. Gillian Stuart Hamer Mr. and Mrs. David S. Lee Chris Curdo Margaret L. Hargrove Mr. and Mrs. Alexander M. Joan P. and Ronald C. Curhan Ellen and John Harris Levine

Edward J. Dailey and Mary Daphne and George Emily Lewis

Supple-Dailey Hatsopoulos Mr. Andrew J. Ley and

Robert and Sara Danziger Deborah Hauser Ms. Carol P. Searle

Mr. John Deutch Dr. Edward Heller, Jr. Christopher and Laura Lindop Paul F. and Lori A. Deninger Mr. Gardner C. Hendrie and Keith Lockhart

Phyllis Dohanian Ms. Karen J. Johansen Mrs. Augustus P. Loring

Mr. David L. Driscoll Mrs. Noah T. Herndon Mr. Caleb Loring, Jr.

Mr. Wesley H. Durant, Jr. Mr. and Mrs. Richard D. Hill Mr. and Mrs. Richard K. Lubin

Mr. and Mrs. Philip J. Mr. James G. Hinkle and Mr. John MacLeod II Edmundson Mr. Roy Hammer Peter E. and Betsy Ridge Mrs. Caroline Edwards Mr. John Hitchcock Madsen Dr. and Mrs. Richard H. Mr. Albert A. Holman III Hinda and Arthur Marcus Egdahl Ms. Emily C. Hood Nancy Lurie Marks Mr. and Mrs. William V. Ellis Ms. Ruth Horowitz and Foundation Mr. and Mrs. Richard S. Mr. Robert Schwartz Dr. and Mrs. John D. Matthews

Emmett Mr. Charles A. Hubbard II Mr. William F. Meagher, Jr. Dorothea and Bradford G. Lee and Diana Y. Kurt and Therese Melden ' Endicott ; Humphrey : Mr. Peter Minichiello John P. II and Nancy S. Eustis Mr. and Mrs. Roger Hunt Trudi and Elliot Mishara Ziggy Ezekiel and Suzanne Joanie V. Ingraham Amy and John Morgan Courtright Ezekiel Mr. Herbert R. Jacobs Robert and Jane Morse Shirley and Richard Fennell George Mimi and Jigarjian Anne J. Neilson

Continued on page 51 49 Boston's Classical Station has moved to 99.5fm

BOSTON

(Qfu&t a neupjblaee cm (Ae died/

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

Live from Symphony Hall Saturdays at 8:00pm

wcrb.com

50 The Higginson Society (continued)

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

Andrew Nichols and Roslyn Arlene and David T. Rubin Mrs. Charles H. Taylor Daum Jordan S. Ruboy, M.D. Mr. and Mrs. John L. Ms. Cornelia G. Nichols Stephen and Eileen Samuels Thorndike Mr. and Mrs. Frank Nicholson Betty and Pieter Schiller Mr. and Mrs. Richard K.

Mr. Rodger P. Nordblom Mr. and Mrs. Marvin G. Schorr Thorndike Mr. and Mrs. Richard Norman Linda and Arthur Schwartz Mr. and Mrs. W. Nicholas Mr. and Mrs. Geoffrey Nunes David and Marie Louise Thorndike

Mr. and Mrs. Gerald F. O'Neil Scudder Marian and Dick Thornton

Jason S. and Barbara Meltzer Robert E. Scully, M.D. Diana 0. Tottenham Orlov Maurice and Sarah Segall Marc Ullman Dr. and Mrs. Oglesby Paul Robert G. Segel and Janice L. Mr. and Mrs. John H. Maurice Pechet Foundation Sherman Valentine Mr. and Mrs. John A. Perkins The Shane Foundation Mr. and Mrs. Roger L. Voisin Ms. Mary Perriello Mr. and Mrs. Malcolm L. Mr. and Mrs. Mark Volpe Drs. James and Ellen Perrin Sherman Mr. and Mrs. William G. Ms. Ann M. Philbin Dr. and Mrs. Andrew Silver Walker Ms. Margaret Philbrick and Jack and Maggie Skenyon Leo Wasserman Foundation/ Mr. Gerald Sacks John W. Spillane and Muriel K. Pokross, Trustee Mr. Daniel A. Phillips and Rosemary A. Spillane Nancy T. Watts Rev. Diana W. Phillips Dr. and Mrs. Michael Sporn Matt and Susan Weatherbie Mrs. Richard Phippen Mr. and Mrs. Joseph D. Mr. Stetson Whitcher Ms. Josephine Pomeroy Spound Mrs. John W. White

Ms. Helen C. Powell Mrs. George R. Sprague John C. Willis, Jr.

Ms. Sally Quinn Maximilian and Nancy Mrs. John J. Wilson Gale and Nancy Raphael Steinmann Mr. and Mrs. Donald B. Robert and Ruth Remis Thomas G. Sternberg Wilson

Dr. and Mrs. George B. Fredericka and Howard Mr. and Mrs. Leslie J. Wilson Reservitz Stevenson Jay A. Winsten and

Mr. and Mrs. Mark V. Mr. and Mrs. Galen L. Stone Penelope J. Greene Rickabaugh Mr. Henry S. Stone Chip and Jean Wood

Marcia A. Rizzotto Esta-Lee and Harris E. Stone Mrs. Cornelius A. Wood, Jr. Estate of Robert Rohner Mr. Hiroko Onoyama Mrs. Jane S. Young

Dr. and Mrs. David S. Sugawara Dr. and Mrs. Nicholas T. Rosenthal Mr. and Mrs. Joseph Zervas Dean and Mrs. Henry Swiniarski Mr. and Mrs. D. Brooks Zug Rosovsky Jeanne and John Talbourdet Anonymous (25) William and Kathleen Patricia L. Tambone Rousseau

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Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue.

Hours: Tuesday through Friday, 11^; Saturday from 12-6; and from one hour BOSTON SYMPHONY ORCHESTRA before each concert through intermission.

52 BOSTON SYMPHONY ORCHESTRA 2006-2007 SEASON

Walter Piston Society

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

As of August 31, 2006, members of the Walter Piston Society generously contributed more than $6.9 million to the Boston Symphony Orchestra through life income gifts and bequests during the 2005-2006 season.

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

Mrs. Herbert Abrams Mrs. Ben Beyea Dr. and Mrs. James C. Ms. Eunice Alberts Mr. Peter M. Black Collias Mr. Vernon R. Alden Benjamin S. Blake Mr. and Mrs. Abram T. Miss Rosamond W. Allen Dr. Nancy A. Bord Collier Mr. and Mrs. William A. Mrs. John M. Bradley Mr. and Mrs. Marvin A. Along Mrs. Alice C. Brennan Collier Mr. Matthew O. Anderson Jan Brett and Joseph Mrs. William H. Mrs. Rae D. Anderson Hearne Congleton

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

Mr. Henry W. D. Bain Mr. Richard-Scott S. Mr. and Mrs. Bigelow Mr. and Mrs. Sherwood E. Burow Crocker, Jr. Bain Mrs. Mary L. Cabot Joan P. and Ronald C. Mr. Donald Ball Ms. Edith W. Campbell Curhan Mrs. Dr. and Mrs. Richard Mr. and Mrs. Steven Edith L. Dabney Balsam Castraberti Mrs. David Dangel Ms. Rosemarie Basile Mr. Charles Christenson Mr. Eugene M. Darling, Jr. Mr. and Mrs. Mr. Joseph C. Beaudoin Ms. Deborah P. Clark Nelson J. Mr. and Mrs. Herman Kathleen G. and Gregory Darling, Jr. Becker S. Clear Tamara P. and Charles H. Davis II Robert Michael Beech Mr. Stewart Clifford, Jr. Ms. Maude S. Davis Gabriella and Leo Mr. John F. Cogan, Jr., and Beranek Ms. Mary L. Cornille Mr. Henry B. Dewey Mr. Ralph Berkowitz Ms. Carolyn A. Cohen Mr. Robert Djorup Deborah Davis Berman Saul and Mimi Cohen Nina L. and Eugene B. George and Joan Berma Mrs. Aaron H. Cole Doggett Dr. 0. Donnenfeld Mr. William I. Bernell David Bruce Cole W

Continued on page 55 53 This organization is supported in part by the Massachusetts Cultural Council, a state agency. ^M?THE BOSTON CONSERVATORY

The Boston Conservatory Orchestra MORE THAN FEB 4 MUSIC DANCE Bruce Hangen, Conductor DVORAK: Carneval Overture TH EATER

MOZART: Symphony No. 41 ("Jupiter") SHOSTAKOVICH: Symphony No. 10

Sanders Theatre, call the Harvard University Box Office for tickets: (61 7) 496-2222.

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54 Walter Piston Society (continued)

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

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

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

Mr. Gaffney J. Feskoe Mr. and Mrs. G. Neil Ms. Nancy Keil Miss Elio Ruth Fine Harper George H. Kidder C. Peter and Bev A. Mr. Warren Hassmer Mary S. Kingsbery Fischer Mr. and Mrs. Francis W. Ms. Marsha A. Klein Mr. Stuart M. Fischman Hatch Ms. Virginia B. Kleinrock Hauser Mr. L. Antony Fisher Deborah Mr. Mason J. 0. Ms. Dorothy M. Fitch and Mr. Harold A. Hawkes Klinck, Sr. Mr. John H. Munier Mr. Robert R. Hayward Ms. Kathleen Knudsen Mr. and Mrs. John H. Mr. and Mrs. Milan A. Audrey Noreen Koller Fitzpatrick Heath, Jr. Joan H. Kopperl Ms. Rheba Flegelman Julie and Bayard Henry Mr. and Mrs. Robert K. Elaine Foster Miss Roberta G. Hill Kraft Mr. and Mrs. Dean W. Mr. James G. Hinkle, Jr. Mrs. Harvey Chet Freed Mrs. Richard B. Hirsch Krentzman

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

Mrs. Henry C. Gill, Jr. Hoffman - Mrs. Shirley Lefenfeld Mr. and Mrs. Leonard Mr. and Mrs. Howard K. Bill and Barbara Leith

Gilman Holladay Mrs. Vincent J. Lesunaitis Mrs. Joseph Glasser M. A. B. Holmes Ms. Bess Levine Susan Godoy Ms. Emily C. Hood Jeffrey and Delia Levy Thelma and Ray Goldberg Silka Hook Dr. Audrey A. Lewis

Ms. Claire Goldman Mr. Charles A. Hubbard II Mrs. T. Herbert Lieberman Mr. Mark R. Goldweitz Mr. and Mrs. F. Donald Mrs. George R. Lloyd Hugo and Midge Golin Hudson Ms. Jean Lunn Hon. Jose A. Gonzalez, Mr. Holcombe A. J. Diane H. Lupean

Jr., and Mary Copeland Hughes Kathryn H. Lupean Gonzalez

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56 Walter Piston Society (continued)

Mr. and Mrs. Donald Mrs. Louise C. Noyes- Barbara Rimbach

Malpass, Jr. Balboni Dr. and Mrs. Edmond Ruth G. Mandalian Dr. Peter Ofner Rittner Dr. and Mrs. Matthew B. Annette and Vincent Elizabeth P. Roberts

Mandel O'Reilly Mr. David Rockefeller, Jr.

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

Dr. Martin C. Mihm, Jr. Margaret D. Philbrick Schroeder Miss Margo Miller Muriel K. Pokross Gloria Schusterman Mr. and Mrs. Nathan R. Mrs. Rita Pollet Mrs. Aire-Maija Schwann Miller William and Lia Poorvu Mr. and Mrs. George G. Mrs. Beverly F. Mills Dr. Alfred Pope Schwenk

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

Mulcahy Mrs. Millard H. Pryor, Jr. Mr. and Mrs. Roland E. Mrs. Robert M. Mustard Miss Lillian A. Purdy Shaine Ms. Katharine S. Nash Mr. Irving W. Rabb Mr. Wolf Shapiro Anne J. Neilson Herbert Rakatansky MD Mrs. Robert L. Sharp Dr. Diana F. Nelson and Barbara Sokoloff Dr. Richard M. Shiff Trust

Mr. and Mrs. K. Fred Mr. John B. Read Jr. Mrs. Jane Silverman Netter Peter and Suzanne Read Mr. and Mrs. Robert L. Mrs. Robert B. Newman Kenneth Sawyer Recu Singleton Alan A. and Barbara John S. Reidy Barbara F. Sittinger Nicoll Professor Josephine R. Dr. and Mrs. Jan P. Michael L. Nieland, MD Reiter Skalicky Mrs. Mischa Nieland Robert and Ruth Remis Doctors Jane Slaughter Koko Nishino Ms. Carol Ann Rennie and Firmon E. Mr. Richard C. Norris Marcia and Norman Hardenbergh Carol J. Noyes Resnick

Continued on page 59 57 Bank of America ^, Surround yourself Celebrity Series Engaging Entertaining Enriching with the sound of these world-class orchestras Gewandhaus Orchestra of Leipzig mil

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58 Walter Piston Society (continued)

Mr. and Mrs. Christopher Ms. Amy Thornton Mrs. Mary Wilkinson- E. Smith Mr. and Mrs. Carlos H. Greenberg Mrs. W. D. Sohier Tosi Mr. and Mrs. Richard E.

Mrs. Joseph P. Solomon Diana 0. Tottenham Willett Drs. Norman Solomon Miss Ruth Tucker Georgia H. Williams and Merwin Geffen Mr. Joseph F. Urner and Mr. Jeffery D. Williams Mr. and Mrs. Harold Ms. Lorian R. Brown Mr. and Mrs. John Sparr Mr. and Mrs. Robert A. Williams Mrs. Nathaniel H. Sperber Vieira Mrs. Margaret Williams- Mr. Thomas A. Stalker Mr. and Mrs. Mark Volpe DeCelles Ray and Maria Stata Mrs. Arthur A. Wahmann Mr. and Mrs. Donald B.

Dr. Harold J. Stein and Carol A. and Henry J. Wilson

Kay E. Stein Walker Mrs. John J. Wilson

Thomas G. Sternberg Sidney Walker Mr. and Mrs. Leslie J.

Miss Marylen R. I. Lyle Warner Wilson Sternweiler Ray and Barbara Warner Jeanne H. Wolf Mr. Josiah Stevenson IV Ms. Kathleen M. Webb Chip and Jean Wood Miss Ruth Elsa Stickney Stephen and Dorothy Miss Elizabeth Woolley Mrs. Patricia Hansen Weber Mrs. Eleanor Wright Strang Catherine M. Werder Drs. Richard and Judith Mr. and Mrs. Jonathon D. Ms. Carol A. Whitcomb Wurtman Sutton Mrs. Constance V.R. Mr. David Yalen Mrs. Nathan B. Talbot White Lisl Zausmer Jean-Noel and Mona N. Mrs. Thomas H.P. Dr. and Mrs. Nicholas T. Tariot Whitney Zervas Mr. Thomas Teal Dr. Michael Wiedman Mrs. Kate Zigmond Mr. and Mrs. John L. Mr. and Mrs. Mordechai Isa Kaftal and George O. Thorndike Wiesler Zimmerman Mr. and Mrs. Samuel Mrs. Amos N. Wilder Anonymous (26) Thorne

Tanglewood BOSTON iftrff^lDJ THE BSO ONLINE

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

official home page (http://www.bso.org). The BSO web site not only provides up-to-the-

minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musi- cians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. Since the BSO web site is updat- ed on a regular basis, we invite you to check in frequently.

59 NEXT PROGRAM... (0

Thursday, January 25, at 8 Pre-Concert Talks by Friday, January 26, at 8 Michael Steinberg, former program annotatorfor the Saturday, January 27 at 8 BSO, San Francisco Symphony, SIR COLIN DAVIS conducting and New York Philharmonic

fluisdr

I VAUGHAN Symphony No. 6 in E minor Fridav

WILLIAMS Allegro Moderato Scherzo: Allegro vivace 01 Epilogue: Moderato BEETH<

INTERMISSION

(Open

BEETHOVEN Symphony No. 6 in F, Opus 68, Pastoral

Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro — Thunderstorm. Allegro — Shepherd's song. Happy, grateful feelings after the storm. Allegretto

Hmnii

For the second of his two Symphony Hall programs this season, Sir Colin Davis con- Friday [ ducts two contrasting Sixth symphonies. Last performed by the BSO under Sir Colin in 1982, and programmed here before that only by Serge Koussevitzky and Sir John JAMES Barbirolli, Vaughan Williams's arrestingly powerful No. written in the Symphony 6, YYONN years 1944-47, is one of his darkest symphonies. Although some commentators

speculated that it was a reaction to World War II, Vaughan Williams himself denied

that there was a specific extramusical impetus for the work. Beethoven's Pastoral JOSE'.

Symphony is of course one of his most delightful. A programmatic work, it suggests ANDRE a day in the country by such means as the song of a cuckoo, musical representation

of a babbling brook, a joyous dance of the country folk, a sudden thunderstorm, and JOHN a closing hymn of thanksgiving after the storm. joha

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

60 COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, at 1:45 p.m. prior to the Sunday-afternoon Fidelio performance on March 25, and one hour before the start of each Open Rehearsal.

Thursday 'C—January 25, 8-9:50 Thursday, February 15, at 10:30 a.m. Friday Evening—January 26, 8-9:50 (Open Rehearsal) Saturday 'A'—January 27, 8-9:50 Thursday 'C—February 15, 8-10:05 Friday 'B'—February 16, 1:30-3:35 SIR COLIN DAVIS conducting Saturday 'B'—February 17, 8-10:05 VAUGHAN Symphony No. 6 WILLIAMS JAMES LEVINE conducting BEETHOVEN Symphony No. 6, HAYDN Symphony No. 22, Pastoral The Philosopher WUORINEN Eighth Symphony Wednesday, January 31, at 7:30 p.m. (Theologoumena) (Open Rehearsal) (world premiere; BSO 125th Anniversary Thursday 'A—February 1, 8-10 Commission) Friday 'A—February 2, 1:30-3:30 BRAHMS Symphony No. 4 Saturday 'B'—February 3, 8-10 Wednesday, February 21, at 7:30 p.m. JAMES LEVINE, conductor (Open Rehearsal) DEBORAH VOIGT, soprano Thursday 'B'—February 22, 8-10 BEETHOVEN Coriolan Overture Friday 'A—February 23, 1:30-3:30 SCHOENBERG Erwartung, Monodrama Saturday 'A—February 24, 8-10 for soprano and Tuesday 'C—February 27, 8-10 orchestra JUKKA-PEKKA SARASTE conducting BEETHOVEN Ah! perfido, Scene and cello aria for soprano and ANSSI KARTTUNEN, orchestra DEBUSSY Printemps BEETHOVEN Symphony No. 8 SAARIAHO Notes on Light, for cello and orchestra Thursday 'A—February 8, 8-10:25 (world premiere; BSO 125th Anniversary Friday Evening—February 9, 8-10:25 Commission) Saturday 'A—February 10, 8-10:25 SIBELIUS Lemminkainen Suite JAMES LEVINE conducting YVONNE NAEF, mezzo-soprano Friday 'B'—March 2, 1:30-3:25 (Marguerite) Saturday 'B'—March 3, 8-9:55 PAUL GROVES, tenor (Faust) Tuesday 'B'—March 6, 8-9:55 JOSri VAN DAM, baritone (Mephistopheles) INGO METZMACHER conducting ANDREW GANGESTAD, bass (Brander) LEONIDAS KAVAKOS, violin TANGLEWOOD FESTIVAL CHORUS, BART6K Violin Concerto No. 2 JOHN OLIVER, conductor BRUCKNER Symphony No. 6 PALS CHILDREN'S CHORUS, JOHANNA HILL SIMPSON, conductor Programs and artists subject to change. BERLIOZ La Damnation de Faust

massculturalcouncil.org

61 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

62 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

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

THE BSO'S WEB SITE (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

THE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

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

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5 for each ticket ordered by phone or online.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

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

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

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

TICKET RESALE: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to at- tend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings.

63 PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Hunting- ton Avenue.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority ticket information and other benefits depending on their level of giving. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files.

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

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at www.bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

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