Summer 2013 Boston Symphony Orchestra

boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

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

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.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin •

Programs copyright ©2013 Boston Symphony Orchestra Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 1 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 1 p.m., and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2013

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

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013, leads the BSO in Verdi’s Requiem at Tanglewood this summer on July 27 (with Kristīne Opolais among the soloists), and, as BSO Music Director Designate, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in (photo ©Marco Borggreve) October, followed by a one-night-only concert performance of Richard Strauss’s opera Salome in March. “I am deeply honored and touched that the Boston Symphony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, July 26, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Stravinsky, Britten, and Mozart

Friday, July 26, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH conducting; CHRISTINE SCHÄFER, soprano All-Mozart program

Saturday, July 27, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; KRISTĪNE OPOLAIS, LIOBA BRAUN, DMYTRO POPOV, and FERRUCCIO FURLANETTO, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Verdi’s Requiem

Sunday, July 28, 2:30pm 41 BOSTON SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH, conductor; GARRICK OHLSSON, piano Music of Dvoˇrák and Prokofiev

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 26, are pianist Garrick Ohlsson and Tanglewood Festival Chorus founder/conductor John Oliver. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY Stu Rosner

TANGLEWOODWEEK 4 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, July 26, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE JERRY AND NORMA STRASSLER CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA CATHERINE FRENCH, violin (Britten; 1st violin in Stravinsky) TATIANA DIMITRIADES, violin (1st violin in Mozart) EDWARD GAZOULEAS, viola OWEN YOUNG, cello ROBERT SHEENA, oboe MICHAEL WINTER and JASON SNIDER, horns

STRAVINSKY Three Pieces for string quartet = 126 = 76 = 40

BRITTEN “Phantasy” for oboe, violin, viola, and cello, Opus 2 Andante alla Marcia—Allegro giusto— Molto più lento—Molto più presto— Tempo Io Andante alla marcia

MOZART Divertimento No. 11 for oboe, two horns and string quartet, K.251 Allegro molto Menuetto Andantino Menuetto (Tema con Variazioni) Rondo (Allegro assai) Marcia alla francese

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

2 NOTES ON THE PROGRAM

The three short pieces for string quartet by Igor Stravinsky (1882-1971) were composed in 1914, the year after the first performance of Le Sacre du printemps, which had established Stravinsky as the most significant composer of the age; they are dedicated to the conductor Ernest Ansermet. They have little connection, if any, with the traditional treatment of the string quartet medium, and for that reason they aroused both resentment and incomprehension. In 1924 George Dyson quoted part of the second piece in his book The New Music and commented, “If this type of passage has any proper place in the art of the string quartet, then the end is near.” Stravinsky actually seems to have conceived the pieces as individual, self-sufficient treatments of different moods. This is clear from the titles he applied to them when he orchestrated them in 1928 as part of his Four Studies for Orchestra; there the three movements derived from the string quartet work were called “1. Dance; 2. Eccentric; 3. Canticle.” The second movement was inspired by a famous clown, Little Tich, whom Stravinsky saw in London in the summer of 1914. The last movement, with its stately, hieratic motion and alternations of register, foreshadows the Symphonies of Wind Instruments (1920). Late in his life, the composer declared that the last half of the third piece contained some of the best music that he wrote in this period. Today we think of Benjamin Britten (1913-1976), whose centennial we celebrate this year, primarily as a composer of vocal music—of operas, choral works, church para- bles, canticles, folksong arrangements, the War Requiem, and so on. Even works with “instrumental” titles, like the Spring Symphony, are in fact primarily vocal compositions, however brilliant and colorful the instrumental part may be. But in the early years of his career, Britten was regarded primarily as an instrumental composer. In fact, eighteen of his first twenty-five large works are for instruments alone, and they are generally bigger and more noticeable pieces than the vocal works of the time. The Phantasy quartet began to make the young composer’s name both in his home- land and in wider musical circles as well. Composed in 1932, the same year as his Opus 1 Sinfonietta, it was performed in Florence at the 1934 festival of the Inter- national Society of Contemporary Music. (Few composers are lucky enough to be heard at an international forum with only the second work they deem worthy of their craft.) The single subdivided movement of the Phantasy aims to suggest flexibil- ity within architectural constraint. The very term “fantasy,” a common one in the English consort music of the sixteenth and seventeenth centuries, implies imaginative freedom, but, like many composers of his time, Britten is also concerned to shape the work in a coherent way derived from the sonata principle. The work as a whole forms a large arch beginning and ending with a lyric melody in the oboe undercut by a more sharply rhythmic march figure in the strings; this frames a sonata design,

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 3 with clearly perceptible sections of statement and recapitulation, though the expected development section turns unexpectedly into a central “slow movement.” Britten’s musical language grows out of the modal scales of such composers as Vaughan Williams and Holst, who recovered the heritage of English folk song and Elizabethan polyphonic song for 20th-century musicians, but it moves beyond that in implying extended tonal centers to characterize the sections that shape his piece. At the same time, it reveals in an attractive early score the textural imagination and the richness of thematic artifice that were two of the composer’s greatest strengths. The divertimento is aptly named: from the Italian for “to amuse,” it was a popular 18th-century form of light entertainment, similar to the serenade or “nachtmusik.” Wealthy noblemen in particular wished to enhance their social functions with the pleasant strains of an outdoor ensemble wafting through the evening air; for the young Wolfgang Amadè Mozart (1756-1791), composing divertimenti was an appealing way to bolster his status and ingratiate himself with potential patrons. His Divertimento No. 11 in D was written in July 1776 in Salzburg, when he was twenty years old, possibly as a sunny gift for his sister Nannerl on her name day on July 26, or her birthday on July 30. As a general term applied to a variety of works, the divertimento did not prescribe a specific form, instrumentation, or number of movements; for this particular piece Mozart wrote six movements for oboe, two horns, and string quartet. The oboe, with its French stylistic associations, is given particular importance, perhaps because of Nannerl’s affinity for all things French. Even within this lighthearted genre, meant for no higher purpose than pure listening pleasure, Mozart weaves in some imaginative twists. The bright, high-spirited first movement repeats the opening theme in a minor key, rather than introduce an expected second theme. Next is a stately Menuetto, carried by noble horns which BSO Archives

4 give way to a delicate central Trio for strings only, and an Andantino, which is momen- tarily taken over by the oboe before returning eagerly at a faster tempo. The fourth movement innovatively works the minuet into a theme and variations form: three variations feature solo oboe, first violin, and second violin in turn, with the minuet recurring after each. The fifth movement Rondo features a minor key oboe solo in its middle section, and finally a Marcia alla francese—“alla francese” probably referring to the rhythmic base that followed the traditional French infantry drumbeat— leads the piece to its close, delightful to the end.

Notes by STEVEN LEDBETTER (Stravinsky, Britten) and PAMELA FEO (Mozart) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Pamela Feo, the 2013 Tanglewood Music Center Publications Fellow, is a Boston-based musicologist who works in arts administration. She holds the TMC’s Theodore Edson Parker Foundation Fellowship this summer. Artists

A member of the Boston Symphony Orchestra since 1994, Canadian violinist Catherine French has also established herself as a versatile and accomplished soloist and chamber musician. Ms. French garnered the grand prize at the Canadian Music Competition, the CBC Radio Competition, and the National Competitive Festival of Music, Canada's three major music competitions. She has performed as soloist with many leading Canadian orchestras and given recitals throughout North America and Argentina. She has been featured with the Juilliard Orchestra and James DePreist, with the Boston Pops and John Williams, and at Carnegie Hall in her debut with David Gilbert. Ms. French is a dedicated member of the Calyx Piano Trio and Collage New Music. Her avid interest in chamber music has led to performances at the Marlboro, Banff, Portland, Carolina, and Missouri chamber music festivals, quartet tours of Germany and China, and annual concerts as part of the Friday Prelude series at Tanglewood and the Curtisville Consortium. She has recorded for Albany Records and is featured in Donald Sur’s Berceuse for violin and piano with pianist Christopher Oldfather. Catherine French began Suzuki violin at age four, then continued her studies under the esteemed Canadian pedagogue Lise Elson. She graduated from Indiana University with a bachelor of music degree and a Performer’s Certificate, then earned a master’s degree from the Juilliard School. Her teachers were Miriam Fried, Felix Galimir, and Joel Smirnoff. Ms. French occupies the Mary B. Saltonstall Chair in the BSO’s first violin section. Violinist Tatiana Dimitriades joined the Boston Symphony Orchestra at the beginning of the 1987-88 season. She is also active as a soloist and chamber musician. Highlights of her solo performances include appearances at Carnegie Hall with the Senior Concert Orchestra, at the Grand Teton Festival playing the Mendelssohn Violin Concerto, and at Weill Hall under the sponsorship of the Associated Music Teachers of New York. Born and raised in New York, Ms. Dimitriades attended the Pre-College Division of the Juilliard School. She earned her bachelor's and master's degrees and an Artist Diploma from the Indiana University School of Music, where she was awarded the Performer's Certificate in recognition of outstanding musical performance. A recipient of the Lili Boulanger Memorial Award, Ms. Dimitriades has also won the Guido Chigi Saracini Prize presented by the Accademia Musicale

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 5 Chigiana of Siena, Italy, on the occasion of the Paganini Centenary, and the Mischa Pelz Prize of the National Young Musicians Foundation's Debut Competition in Los Angeles. Currently a member of the Boston Artists Ensemble and the Walden Chamber Players, Ms. Dimitriades also performs frequently in chamber music concerts with BSO colleagues at Symphony Hall in Boston and at Ozawa Hall at Tanglewood. She was concertmaster of the Newton Symphony Orchestra and the New Philharmonia Orchestras, and has appeared on numerous occasions as concerto soloist with these and other Boston-area orchestras. Violist Edward Gazouleas occupies the Lois and Harlan Anderson Chair in the Boston Symphony Orchestra’s viola section. Mr. Gazouleas is on the faculties of Boston University College of Fine Arts and the Tanglewood Music Center. An active recitalist and chamber music player, he has appeared recently with the Boston Artists Ensemble, the Boston Symphony Chamber Players, and the new music group Collage. He was a prizewinner at the International String Quartet Competition in Evian, France, and has performed with members of the Muir, Lydian, and Audubon string quartets. Mr. Gazouleas has held teaching positions at Temple University and Wellesley College and was a member of the Pittsburgh Symphony under Lorin Maazel. He attended Yale and is a graduate of the Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo. Mr. Young’s performances have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Harrisburg, and WGBH in Boston. He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City. Mr. Young was previously on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; he is currently on the faculty of Berklee College of Music and is active in Project STEP (String Training and Education Program for students of color). From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. His teachers included Eleanor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. Mr. Young holds both bachelor’s and master’s degrees from Yale University. He was a Tanglewood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Symphony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he joined the BSO in 1991. Owen Young occupies the John F. Cogan, Jr., and Mary L. Cornille Chair in the orchestra’s cello section. Robert Sheena has been the English horn player of both the Boston Symphony Orchestra, in which he occupies the Beranek Chair, and the Boston Pops Orchestra since 1994. His solo performances with the BSO have included André Previn’s Reflections for English horn, cello, and chamber orchestra; the solo English horn part in Sibelius’s Swan of Tuonela; and Copland’s Quiet City, a work he has also performed with the BPO. In 1998, David Alan Miller and the Albany Symphony commissioned a work for English horn and orchestra—Gabriel Gould’s Watercolors— expressly for Mr. Sheena, who premiered and later recorded the piece with that orchestra under Mr. Miller’s direction. In 1998 he gave the premiere of Daniel Pinkham’s Odes for English horn and organ at the convention of the American

6 Guild of Organists. As a teacher of oboe and English horn, Mr. Sheena is on the faculties of Boston University, the Boston Conservatory, and the Longy School of Music. An alumnus of the Tanglewood Music Center, he now works with TMC Fellows in chamber music coachings and master classes. With BSO principal oboe John Ferrillo, he co-directs an intensive two-week summer workshop for young oboists at the Boston University Tanglewood Institute. Before joining the BSO, Mr. Sheena performed frequently as an extra player with the Chicago Symphony Orchestra. He was assistant principal oboe and solo English horn with the Hong Kong Philharmonic Orchestra from 1987 to 1991 and with the San Antonio Symphony from 1991 to 1994. Mr. Sheena received his bachelor of music degree from the University of California at Berkeley and his master of music degree from North- western University. He studied the oboe intensively with such masters of the instrument as Ray Still, Grover Schiltz, William Banovetz, John Mack, and Marc Lifschey. Michael Winter joined the Boston Symphony Orchestra as third horn in September 2012, occupying the Elizabeth B. Storer Chair. Prior to his appointment with the BSO, he was acting principal horn of the Buffalo Philharmonic and principal horn of the Syracuse Symphony Orchestra for several seasons, and also performed as guest principal horn with Saint Paul Chamber Orchestra on several occasions. Mr. Winter was born and raised in Southern California by a musical family. He began his horn studies with his grandfather, respected horn teacher Dr. James Winter, and later studied with Jim Thatcher and John Mason. He then moved to Boston to pursue a degree at the New England Conservatory of Music, where he worked with Boston Symphony members Richard Mackey and Richard Sebring. Prior to joining the BSO, he performed regularly in New England with the Boston Ballet Orchestra, Rhode Island Philharmonic, and Boston Philharmonic, and as an extra player with the Boston Pops Orchestra and Boston Symphony Orchestra. Jason Snider joined the Boston Symphony Orchestra as fourth horn in March 2007. Prior to his BSO appointment, he held positions as second horn with Lyric Opera of Chicago and associate principal horn of the San Antonio Symphony. A native of Arkansas, Mr. Snider attended Northwestern University, where he studied with Norman Schweikert, Dale Clevenger, and Roland Pandolfi. During this time, he performed with the Civic Orchestra of Chicago for two seasons. After graduating with honors, he pursued graduate work at Rice University, studying with Roger Kaza and William VerMeulen. Mr. Snider has played with various music festivals such as the Grant Park Music Festival, the Grand Teton Music Festival, the Orquesta Sin- fónica de Minería in Mexico City, the National Repertory Orchestra, the Jerusalem International Symphony Orchestra, and the Pacific Music Festival. He has also performed with the Houston Symphony, Houston Grand Opera, and the Chicago Chamber Musicians. Stu Rosner

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 7 The Evelyn and Samuel Lourie Memorial Concert Friday, July 26, 2013 The performance on Friday evening is supported by a generous gift from BSO Overseer Linda J.L. Becker in memory of her parents, Evelyn and Samuel Lourie. Linda has been a donor and concert attendee at Tanglewood for more than ten years. She was elected to the BSO Board of Overseers in 2006, and she is a former member of the Annual Funds Committee. Linda is one of the most generous supporters of the Tanglewood Annual Fund, contributing to the Koussevitzky Society at the Virtuoso level, and supporting a full fellowship at the Tanglewood Music Center since 2003. In addition to her annual fund support, Linda has regularly supported Opening Nights at Tanglewood. Linda is the School Grammarian and English teacher at the Pine Cobble School in Williamstown, MA. She is an alumna of Smith College and the Harvard Graduate School of Education. In addition to her involvement at the BSO, Linda has been involved with several organizations in the Berkshires. She is a trustee of the North Adams Steeplecats baseball team, director emerita of the Williamstown Rural Lands Foundation, and former chair of the board of trustees of the Milne Public Library in Williamstown. Stu Rosner

8 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, July 26, 8:30pm THE EVELYN AND SAMUEL LOURIE MEMORIAL CONCERT

CHRISTOPH ESCHENBACH, conductor and piano

ALL-MOZART PROGRAM

Scena, “Ch’io mi scordi di te,” with Rondo, “Non temer, amato bene,” for soprano and orchestra with piano obbligato, K.505

CHRISTINE SCHÄFER, soprano CHRISTOPH ESCHENBACH, piano Text and translation are on page 12.

Piano Concerto No. 12 in A, K.414(385p) Allegro Andante Allegretto Mr. ESCHENBACH

{Intermission}

Symphony No. 41 in C, K.551, “Jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

TANGLEWOODWEEK 4 FRIDAYPROGRAM 9

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Scena, “Ch’io mi scordi di te,” with Rondo, “Non temer, amato bene,” for soprano and orchestra with piano obbligato, K.505 First performance: February 23, 1787, Vienna, Nancy Storace, soprano. W.A. Mozart, piano (Mozart having entered the piece into his personal catalogue on December 27, 1786). First BSO (and first Tanglewood) performance: July 11, 1964, Erich Leinsdorf cond., Helen Boatwright, soprano, Malcolm Frager, piano. Most recent Tanglewood performance: August 9, 2008, Hans Graf cond., Andrea Rost, soprano, André Previn, piano. “Für Mselle Storace und mich” says Mozart’s own catalogue entry. Mselle Storace, baptized Anna Selina and called Nancy, was an Italian- English soprano nine years younger than Mozart. Her father, born in Torre Annunziata near Naples, was a bass player who spent most of his working life in Dublin and London, where he was a good friend of the playwright Richard Brinsley Sheridan. Nancy studied with the castrato Venanzio Rauzzini, for whom the barely seventeen-year-old Mozart had written his motet Exsultate, jubilate with its famous Alleluia. In her teens, she sang leading roles in Florence, Parma, and Milan, and from 1783 to 1787 she was prima donna in Vienna. There she was briefly and disastrously mar- The soprano Nancy Storace, ried to John Abraham Fisher, an English composer much her senior, for whom Mozart wrote who, according to the entertaining memoirs of Michael Kelley, the “Ch’io mi scordi di te” Irish tenor who was the first Don Basilio and Don Curzio in Figaro, achieved his courtship “by dint of perseverance... and drinking tea with her mother.” Emperor Joseph II, who may have had designs of his own on Nancy, saw to it that Fisher was run out of town. Nancy, too, was in the original Figaro cast, as Susanna. By all accounts she was wonderful, and a lot of the stage shenanigans must have had a familiar ring for her. Otto Jahn suggested in his groundbreaking Mozart biography of 1856-59 that the composer was in love with his Susanna, an idea given renewed currency ninety years later in Alfred Einstein’s still much read Mozart. There is nothing positive to tell us that this was so, certainly nothing to point toward the romantic and the sexual, though the friendship, which included Nancy’s composer brother Stephen, was very warm. At the same time, I do not doubt that Mozart loved her in another sense. Susanna, a young woman fabulously endowed with brains, heart, humor, and sexuality, is the richest operatic role Mozart ever created, and he cannot have been emotional- ly unaffected by an artist who realized it to perfection. Nancy Storace was not a beautiful woman, neither did she have a notably beautiful voice. What she had, along with perfect command over her resources, was brains, heart, humor, sexuality, also that quality the Italians call “prontezza,” literally “readi- ness,” alertness, quickness of response. She had imagination, she was alive. This scene and aria was Mozart’s contribution to her farewell concert from Vienna, the farewell of an artist who had touched him deeply and to whom he wanted to offer a testimonial. It is in every way a special piece, most obviously by being in fact a duet or double concerto, with one of the roles being designed for the composer-pianist himself. His choice of text—“I, forget you?”—was not haphazard. Storace is usually referred to as a soprano; Susanna, her role, is most often sung by

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 11 sopranos. But the writing both here and in Figaro suggests that she was more what we might call a very light mezzo-soprano. Neither assignment takes the singer very high (it was discovered years ago that some of the soprano lines in the Act II finale of Figaro were reversed in the printed scores, and the high C’s really belong to the Countess); both ask for a low range with considerable ﬂesh on it. Mozart had already set the aria—but not the poignant recitative—earlier in 1786, more coolly and with violin obbligato, for insertion in a private performance of Idomeneo: the Köchel number is 490. The situation is this: Idamante, son of Idomeneo, King of Crete, and Ilia, daughter of King Priam of Troy and a captive of Idomeneo, are in love. Idamante is also loved by the Princess Elektra, and Ilia mistakenly believes this feeling to be returned. The recitative and aria are Idamante’s response to Ilia’s offer to renounce him.

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

“Ch’io mi scordi di te... Non temer, amato bene,” K.505

Ch’io mi scordi di te? You want me to forget you? Che a lui mi doni puoi You can counsel me to give myself consigliarmi? to her? E puoi voler che in vita... And can you wish that, while I live— Ah no. Ah, no. Sarebbe il viver mio di morte assai My life would then be far worse than peggior. death. Venga la morte, intrepida l’attendo. Let death come, boldly I’ll await it. Ma, ch’io possa struggermi ad altra But that I might melt at another face, ﬂame, ad altr’oggetto donar gl’affetti miei, lavish my affection on another, come tentarlo? how could I do such a thing? Ah! di dolor morrei. Ah! I’d die of grief.

Non temer, amato bene, Fear not, my beloved, per te sempre il cor sarà. My heart will always be yours. Più non reggo a tante pene, No longer can I bear such pains, l’alma mia mancando va. My spirit is failing. Tu sospiri? o duol funesto! You sigh? oh, mournful sorrow! Pensa almen, che istante è questo! Think, at least, what moment this is! Non mi posso, oh Dio! spiegar. Oh my God, I cannot express myself. Stelle barbare, stelle spietate! Barbarous, pitiless stars! Perchè mai tanto rigor? Why such harshness? Alme belle, che vedete Fair spirits that behold le mie pene in tal momento, my pains at such a moment, dite voi, s’egual tormento tell me if a faithful heart puó soffrir un ﬁdo cor? can suffer such torment?

ANONYMOUS tr. STEVEN LEDBETTER

12 Wolfgang Amadè Mozart Piano Concerto No. 12 in A, K.414(385p) Composed 1782 in Vienna. Date of first performance not known. First BSO performance at Tanglewood: July 3, 1965, Erich Leinsdorf, cond., Malcolm Frager, piano. Most recent Tanglewood performance: August 8, 2008, Sir Andrew Davis cond., Leon Fleisher, soloist. One of Mozart’s urgent concerns upon settling permanently in Vienna and entering into the state of matrimony, which meant that there would soon be children to provide for, was to establish himself financially. And one of the best ways was to write and play piano concertos, which would serve the double function of promoting him as composer and performer. Thus began the series of the great Mozart concertos, starting with three rather modest works composed late in 1782 and early the following year, identified as Nos. 413, 414, and 415 in the Köchel catalogue. In a letter to his father he described all three of them in these enthusiastic terms: These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without know- ing why. More than just pleasing a diverse audience in performance, Mozart wanted to sell copies of the music, and the only way he could do that was to make it practical not only for virtuosos appearing in public concert but also for amateurs. In order to attract this much larger audience of purchasers, Mozart took a leaf from the Opus 3 concertos of Johann Samuel Schroeter, which he had come to know several years earlier and which he admired. Schroeter’s trick was to write the orchestra part in

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 13 such a way that the strings carry all the essential material, with the winds supplying only color and reinforcement. That way, a concerto could be played successfully at home by a pianist with a string quartet. That this was Mozart’s intention with this group of three concertos is demonstrated by his letter to the Parisian publisher Sieber on April 26, 1783: “I have three piano concertos ready, which can be performed with full orchestra, or with oboes and horns, or merely a quattro [i.e., with a string quartet].” There is no evidence that the composer himself ever played K.414 in public, except for the fact that he wrote two complete sets of cadenzas for the work, although that might only mean that one of his students played the piece. The earlier group of cadenzas may have been written at about the time of the original composition; the later set apparently dates from the winter of 1785-86. Throughout K.414, the keyboard seems to dominate more than it does in those concertos with larger orchestral complements, as if to compensate in some way for the diminutive ensemble. This appears not only in the normal “composed” part of the concerto, but also in the “improvised” cadenza-like passages, of which there are a considerable number—one full cadenza in each of the three movements, as well as an additional “Eingang” (or “lead-in” to the return) in the middle of the second

14 movement, and two in the final movement. The slow movement opens with a quota- tion from a symphony by J.C. Bach, whom Mozart had met and admired as a child on his first London visit and who had died on New Year’s Day of 1782. The concluding rondo is a sprightly Allegretto, possibly Mozart’s second solution to the choice of a finale, since in October 1782 he had already composed a rondo in A that may have been intended for this position.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Wolfgang Amadè Mozart Symphony No. 41 in C, K.551, “Jupiter” First performance: Date unknown; composed summer 1788 for a concert series that seems not to have taken place. First BSO performance: February 7, 1885, Wilhelm Gericke cond. First Tanglewood performances: July 20 and 22, 1947, Serge Koussevitzky cond. Most recent Tanglewood performance: August 21, 2011, Bernard Labadie cond. The very perfection of Mozart’s last three symphonies—No. 39 in E-flat, the great G minor, and the Jupiter—is miraculous, and the more so given how quickly they were composed. No less impressive is their diversity, and the clarity with which, in three quite different directions, they define the possibilities of Mozart’s art. Eric Blom puts it thus: “It is as though the same man had written Shakespeare’s Twelfth Night, Racine’s Phèdre, and Goethe’s Iphigenie within whatever period may be equivalent for the rapid execution of three plays as compared to three symphonies.” In view of how much Mozart’s compositions are as a rule bound to particular occasions, commissions, or concerts, another wonder is that these symphonies exist at all. They were completed respectively on June 26, July 25, and August 10, 1788. By then Mozart’s public career had begun to go badly. There had been a time when he could report, as he did in a letter to his father on March 3, 1784, that he had had twenty-two concerts in thirty-eight days: “I don’t think that in this way I can possibly get out of practice.” A few weeks later he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together. Not many years later all this had changed. Figaro, new in 1786, was popular in Vienna, but not more so than other operas by lesser composers, and certainly not sufficiently to buoy up Mozart’s fortunes for long. Don Giovanni, first given in Vienna on May 7, 1788, failed to repeat the enormous success it had enjoyed in Prague, and the performance on December 15 of that year was the last one in the capital in the composer’s lifetime. By then, Mozart was in catastrophic financial straits. In June 1788, he wrote the first of the agonizing letters in which he entreated his brother Mason, Michael Puchberg, for help. He mentions a series of concerts about to begin at the Casino “next week” and encloses a pair of tickets. There is no evidence in newspa- pers or anywhere else that these concerts ever took place: this time, perhaps, the subscribers were too few. Nor did Mozart give other concerts of his own in Vienna after that. It seems reasonable to connect Mozart’s last three symphonies with the projected Casino concerts. Little is known about their early history. Orchestra parts for them

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 15 were printed by Johann André in Offenbach, Hesse, two years after Mozart’s death, but various libraries have also yielded manuscript copies, some of which certainly date to the composer’s lifetime. The G minor symphony was played in its revised version with added clarinets in April 1791, but whether Mozart ever heard the Jupiter or the E-flat we do not know. A word, first, about the symphony’s name. It is not Mozart’s, but it is old and perhaps the brainchild of Johann Peter Salomon, the German-born violinist and impresario most famous for having twice enticed Haydn to London. At any rate, in 1829, thirty- eight years after Mozart’s death and fourteen after Salomon’s, the English composer, organist, and publisher Vincent Novello and his wife Mary visited the Continent and spent a few summer days in Salzburg with Mozart’s widow and son. The Novellos kept separate journals, and in Vincent’s, on August 7, 1829, we may read the following: “Mozart’s son said he considered the Finale to his father’s Sinfonia in C—which Salomon christened the Jupiter—to be the highest triumph of Instrumental Compo- sition, and I agree with him.” In terms of Eric Blom’s literary comparison, the Jupiter is Iphigenie: noble, at once subtle and grand, “classical.” The fences so recklessly torn down in the G minor Phèdre are restored. The opening gestures, with their orderly contrasts and symme- tries, are more formal, indeed more formulaic, than anything else in the last three symphonies. But whatever Mozart touches becomes personal utterance. After an impressive drawing up to a halt, the opening music reappears, but what was assertive before is now quiet and enriched by softly radiant commentary from the flute and the oboe. Another cadence of extreme formality, and a new theme appears. This, too, being full of gentle, unobtrusive complexities, is not so innocent as at first it seems. When he comes to his Andante—the strings are muted now—Mozart becomes more overtly personal, writing music saturated in pathos and offering one rhythmic sur- prise after another. The coda, which adds miracles at a point when we can hardly believe more miracles are possible, was an afterthought appended by Mozart on an extra leaf. The minuet, aside from having the proper meter and speed, is not particularly minuet-like. It is fascinating what a wide-ranging category “minuet” is for Mozart. The Jupiter minuet is wonderful in a quiet way: here is music that constantly blossoms into richesses Mozart carefully leads us not to expect. The Trio is, for the most part, an enchanting dialogue of ever so slightly coquettish strings and winds so soberly reticent that they seem able to do no more than make little cadences. There is one forte outburst lasting just a few seconds: here the orchestra sounds a new and

16 brief phrase of striking profile. It demands attention, and, although just then it seems to pass without consequence, we shall soon discover why. That happens the moment the finale begins. Here Mozart picks up the four-note idea that had made such a startlingly forceful appearance in the Trio. When first we heard it, it was on an odd harmonic slant; now it is set firmly in C major. This idea is in fact part of the common stock of the 18th-century vocabulary; Mozart himself had used it before on several occasions—in Masses, in the Symphony No. 33 in B-flat, in the great E-flat sonata for piano and violin, K.481—and as he is quick to remind us, it lends itself to contrapuntal elaboration. The music moves at a tempo swifter than any we have yet heard in this symphony. All the themes in this finale are short: they are material to work with more than objects presented for the sake of their intrinsic charm, and Mozart whirls them by us with a fierce energy that is rooted in his dazzling polyphony. Six years earlier, Mozart had come to know the music of J.S. Bach. Having begun by transcribing and imitating, Mozart has now achieved a complete and easy integra- tion of Baroque polyphony with the galant language that was his most direct inheri- tance, which he had learned at the knee of Sebastian Bach’s youngest son, Johann Christian. In his exuberantly energetic coda, Mozart unfurls a dazzling glory of polyphony to cap, in one of music’s truly sublime pages, a movement that is one of the most splendid manifestations of that rich gathering-in we call the classical style.

MICHAEL STEINBERG

Guest Artists

Christoph Eschenbach Conductor and pianist Christoph Eschenbach began his tenure in September 2010 as music director of both the National Symphony Orchestra and the John F. Kennedy Center for the Performing Arts in Washington, D.C. His 2012-13 season includes a tour of Europe and Oman with the National Symphony, as well as performances in Europe with the NDR Symphony Orchestra (where he was music director from 1998 to 2004), Munich Philharmonic, and Orchestre de Paris (music director between 2000 and 2010); a tour of Germany with the London Philharmonic; concerts in Israel with the Israel Philharmonic Orchestra; a tour of Australia and Europe leading the Australian Youth Orchestra; and a return to the Vienna State Opera for Strauss’s Capriccio. In the United States, in addition to leading the National Symphony at the Kennedy Center and Carnegie Hall, he returns to the Los Angeles Philharmonic, New York Philharmonic, Boston Symphony, and San Francisco Symphony. Highlights of 2011-12 included concerts with the National Symphony at home and on tour to South America, and with the Vienna Philharmonic in Vienna and on tour to Australia and the Far East. He also led China’s Central Phil- harmonic Orchestra in Beijing; the London Philharmonic at Royal Festival Hall and on tour in Oman and Spain; the Philadelphia Orchestra, where he was music director from 2003 to 2008; the NDR Symphony Orchestra; the Accademia Nazionale di Santa Cecilia in Rome, the Boston Symphony Orchestra at Symphony Hall and Carnegie Hall, and the Orchestre de Paris, among others. Principal conductor of the Schleswig- Holstein Music Festival International Orchestral Academy since 2004, he also appears regularly in Germany and on tour with the SHMF Orchestra. His ongoing collaboration with baritone Matthias Goerne includes Harmonia Mundi recordings of Schubert’s Die schöne Müllerin, Winterreise, and Schwanengesang. In summer 2010 the duo performed

TANGLEWOODWEEK 4 GUESTARTISTS 17 all three Schubert works in three recitals (with Mr. Eschenbach also playing Schubert’s B-flat piano sonata, D.960) at the Salzburg Music Festival, where Mr. Eschenbach also conducted the Vienna Philharmonic. The duo performed the complete Schubert cycle in Paris at the Salle Pleyel in 2011-12 and this season presents it at Vienna’s Musikverein. Mr. Eschenbach’s extensive discography includes recordings with the Orchestre de Paris, London Symphony, Vienna Philharmonic, Hamburg NDR Symphony, and Houston Symphony, among many others. This season brings a recording with the Vienna Phil- harmonic and soloist Lang Lang. Several of sixteen recent Ondine releases featuring Mr. Eschenbach with the Orchestre de Paris and the Philadelphia Orchestra have garnered honors, including BBC Magazine’s “Disc of the Month,” Gramophone’s “Editor’s Choice,” and the German Record Critics’ Award, among others. His Ondine recording of music by Kaija Saariaho with the Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM Classical Award in Contemporary Music. Mentored by George Szell and Herbert von Karajan, Christoph Eschenbach has previously held chief artistic posts with the Tonhalle Orchestra, Houston Symphony, Ravinia Festival, and Schleswig- Holstein Music Festival. His many honors include the Légion d’Honneur, Commandeur dans l’Ordre des Arts et des Lettres, the Officer's Cross with Star and Ribbon of the German Order of Merit, and the Commander’s Cross of the German Order of Merit for outstanding achievements as pianist and conductor. He also received the Leonard Bernstein Award from the Pacific Music Festival, where he was co-artistic director from 1992 to 1998. Christoph Eschenbach has appeared on many occasions as both conductor and pianist with the Boston Symphony Orchestra, his BSO appearances as pianist beginning with his Tanglewood debut in July 1969, his appearances as conductor beginning at Tanglewood in July 1978. His most recent subscription appearances were in March 2013, leading the world premiere of Augusta Read Thomas’s Cello Concerto No. 3, a BSO commission, on a program also including music of Mozart and Saint-Saëns. His most recent Tanglewood appearance was in July 2012, when he led music of Bern- stein and Tchaikovsky.

18 Christine Schäfer Christine Schäfer is a graduate of the Berlin Conservatory, where she studied with Professor Ingrid Figur, the late Arleen Augér, Aribert Reimann, Dietrich Fischer- Dieskau, and Sena Jurinac. Today she enjoys a successful international opera, concert, recital, and recording career. Ms. Schäfer’s diverse opera credits include the roles of Konstanze, Cherubino, and Donna Anna at the Salzburg Festival; Konstanze, Gilda, Sophie, and Asteria at Covent Garden; Lulu, Gretel, Sophie, Gilda, and Cherubino at the Metropolitan Opera; Messiaen’s St. François d’Assise, Donna Anna, Cherubino, and Violetta at the Opéra National de Paris; Pamina, Cleopatra, and Alcina for De Nederlandse Opera, Sophie in San Francisco, and Lulu at the Glyndebourne Festival. A regular guest at Berlin State Opera, Ms. Schäfer has sung Violetta, Konstanze, Adele, and Cherubino there. Her engagements on the concert stages of Europe and America have included collaborations with such eminent conductors as Abbado, Levine, Harnoncourt, Boulez, Eschenbach, Haitink, Harding, Gatti, Mehta, Metzmacher, Thielemann, and Rattle. Since her successful 1988 recital debut at the Berlin Festival singing Aribert Reimann’s Nachträume, she has made regular tours of North America and Japan and has appeared at such venues as London’s Wigmore Hall and Vienna’s Musikverein. As part of the inaugural Ruhr Triennale in 2002, she presented an acclaimed interpre- tation of Schubert’s Winterreise in a staging by Oliver Hermann. Her discography includes Die Entführung aus dem Serail (Erato), Mozart and Strauss arias with the Berlin Philharmonic, Bach’s Wedding cantatas, Pierrot Lunaire, Boulez’s Pli selon Pli, and a recital disc of Debussy and Chausson (all Deutsche Grammophon), Bach’s St. Matthew Passion and Mozart’s Missa Brevis (Teldec), and Mozart’s Requiem and Handel’s Messiah (BMG). She is also featured on the Hyperion series of Schubert, Schumann, and Brahms Lieder. Sony released her first opera album, “Christine Schäfer Arias,” in autumn 2011, to be followed in October 2013 with a second Sony release, of Bach cantatas. For Capriccio, she recorded Zemlinsky’s Lyric Symphony and, with the Petersen Quartet, an Aribert Reimann collection of Mendelssohn and Schumann song transcriptions entitled “....oder soll es Tod bedeuten?,” winner of the 2007 Echo Klassik Award for best Lied recording. Her acclaimed Onyx Classics releases of Winterreise and songs by Purcell and George Crumb display her highly personal interpretations. Operatic highlights of Ms. Schäfer’s recent seasons have included her Vienna operatic debut in 2009 as Handel’s Partenope in a new production at the Theater an der Wien, where she sang Ophelia in Hamlet in 2012. At Munich State Opera she opened the 2011 summer festival as the Angel in St. François d’Assise; she will return there in summer 2014 as Cherubino. In 2012 she returned to the Metropolitan Opera as Cherubino before making her Vienna State Opera debut singing the Composer in Strauss’s Ariadne auf Naxos for the first time. Engagements in 2013 include Donna Anna in Madrid, Violetta and Donna Anna at Berlin State Opera, and Adele at the Met. Since autumn 2011 She has been a guest professor at Berlin Music University Hanns Eisler. Tonight’s concert marks Christine Schäfer’s Tanglewood debut with the Boston Sym- phony Orchestra. She made her first BSO appearances in October 1993 at Symphony Hall and Carnegie Hall, as soloist in Mahler’s Symphony No. 4 with Seiji Ozawa conducting. In September 2008 she was the soprano soloist in Brahms’s Ein deutsches Requiem with James Levine and the BSO, a performance subsequently issued on BSO Classics.

TANGLEWOODWEEK 4 GUESTARTISTS 19 The Stephen and Dorothy Weber Concert Saturday, July 27, 2013 The BSO performance on Saturday evening is supported by a generous gift from Great Benefactors Stephen R. and Dr. Dorothy Altman Weber. “The BSO is an important part of our lives and the performances at Tanglewood and in Boston are a source of great personal joy,” said Steve and Dottie. “We feel that we have a responsi- bility to support the orchestra so future generations will experience the extraordinary musical excellence from which we have benefited.” Steve Weber, an alumnus of the University of Pennsylvania and Harvard Business School, retired in 2005 as managing director of SG-Cowen Securities Corp. Dottie Weber formerly taught at Northeastern University and was a research psychologist at Boston University Medical Center. She is an alumna of Tufts University and Boston University, where she earned her doctorate in education. The Webers have been supporters of the Boston Symphony Orchestra since 1979. Steve and Dottie’s love of Tanglewood led them to support the campaign to build Ozawa Hall, to endow two seats in the Shed, to establish an endowed fellowship at the Tanglewood Music Center, and the first endowed artist-in-residence position at the TMC. They have also endowed the Stephen and Dorothy Weber Chair, currently held by BSO cellist Mickey Katz. This summer the BSO dedicated the Weber Gate at Tanglewood as an enduring tribute to the Weber’s extraordinary commitment and generosity to the BSO and Tanglewood. In addition to their financial support of the BSO, Steve and Dottie have also given generously of their time. Steve was elected a Trustee in 2002 and vice-chairman in 2010. He serves on the Executive Committee, the Overseers Nominating Committee, and the Principal and Leadership Gifts Committee, which he co-chairs. Together, Steve and Dottie are members of the Annual Fund Committee and the Tanglewood Task Force, and were chairs of 2013 Opening Night at Tanglewood. The Boston Symphony Orchestra extends heartfelt thanks to Steve and Dottie Weber for their generosity and commitment to continuing Tanglewood’s rich musical tradition. Walter H. Scott

20 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, July 27, 8:30pm THE STEPHEN AND DOROTHY WEBER CONCERT

ANDRIS NELSONS conducting

VERDI Requiem Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni Requiem and Kyrie Dies irae Dies irae Rex tremendae Tuba mirum Recordare Mors stupebit Ingemisco Liber scriptus Confutatis Quid sum miser Lacrymosa Offertorio (Domine Jesu Christe) Sanctus Agnus Dei Lux aeterna Libera me

KRISTĪNE OPOLAIS, soprano LIOBA BRAUN, mezzo-soprano DMYTRO POPOV, tenor FERRUCCIO FURLANETTO, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 28.

Please note that there is no intermission in this concert.

Kristīne Opolais’s appearance is supported by a generous gift from Catherine and Paul Buttenwieser.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

TANGLEWOODWEEK 4 SATURDAYPROGRAM 21 The Catherine and Paul Buttenwieser Guest Artist Saturday, July 27, 2013 Kristīne Opolais’s appearance on Saturday evening is supported by a generous gift from Great Benefactors Catherine and Paul Buttenwieser. Paul served on the BSO Board of Overseers from 1998 to 2000, when he was elected to the Board of Trustees. In 2010, Paul was elected a Vice-Chairman of the Board of Trustees. Paul’s interest in music began at a young age, when he studied piano, violin, clarinet, and conducting as a child and teenager. Together, Paul and Katie have developed their lifelong love of music, and they have attended the BSO’s performances at Tanglewood and Symphony Hall for over fifty years. The Buttenwiesers have generously supported numerous initiatives at the BSO, including BSO commissions of new works, guest artist appearances at Tanglewood and Symphony Hall, fellowships at the Tanglewood Music Center, and Opening Nights at Symphony and Tanglewood. They also endowed the BSO first violin chair currently held by James Cooke. Paul and Katie chaired Opening Night at Symphony for the 2008-2009 season, and they have served on many benefactor committees for the gala. Paul serves on the Execu- tive Committee, Principal and Leadership Gifts Committee, and Trustees Nominating Committee, and was a member of the Search Committee recommending the appointment of Andris Nelsons as the BSO’s next music director. The Buttenwiesers support many arts organizations in Boston. Paul is chairman of the board of trustees of the Institute of Contemporary Art, Boston; honorary trustee of the Museum of Fine Arts, Boston; founding member of the board of trustees and former chairman of the advisory board of American Repertory Theater; member of the president’s advisory council of Berklee College of Music; and member of the Boston Public Schools Arts Advisory Council. He has also served on numerous boards and committees at his alma mater, Harvard University. In addition to supporting the arts, the Buttenwiesers are deeply involved with the community and social justice. In 1988, Paul and Katie founded the Family-to-Family Project, an agency that works with homeless families in Eastern Massachusetts. Katie, who is a social worker, spent most of her career in the area of early child development before moving into hospice and bereavement work. She is a graduate of Mount Holyoke College and Boston University School of Social Work. Paul is a psychiatrist who specializes in children and adolescents, as well as a writer. He is a graduate of Harvard College and Harvard Medical School.

22 NOTES ON THE PROGRAM

Giuseppe Verdi (1813-1901) Requiem Mass for four solo voices, chorus, and orchestra, in memory of Alessandro Manzoni First performance (original version): May 22, 1874, St. Mark’s, Milan, Verdi cond., with vocal soloists Teresa Stolz, Maria Waldmann, Giuseppe Capponi, and Ormondo Maini, and an especially assembled chorus and orchestra; (with new “Liber scriptus” ): May 15, 1875, Royal Albert Hall, London, Verdi cond., with soloists Stolz, Waldmann, Angelo Masini, and Paolo Medini. First BSO performance: December 1954, Guido Cantelli cond.; Herva Nelli, Claramae Turner, Eugene Conley, Nicola Moscona, vocal soloists; New England Conservatory Chorus, Lorna Cooke deVaron, cond. First Tanglewood performance: August 22, 1964, Erich Leinsdorf cond.; Lucine Amara, Lili Chookasian, George Shirley, Ezio Flagello, vocal soloists; Chorus Pro Musica, Alfred Nash Patterson, cond., assisted by the Festival Chorus. Most recent Tanglewood performance: August 1, 2003, Rafael Frühbeck de Burgos cond.; Sondra Radvanovsky, Yvonne Naef, Richard Leech, John Relyea, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Like most Italian composers of the nineteenth century, Verdi gained his first musical experience at the knee of a church organist; one of his earliest sur- viving works is a Tantum ergo (a segment of the Latin hymn Pange lingua) for tenor and orchestra, noteworthy, according to Julian Budden, for its “academic correctness.” Verdi made his most important foray into sacred music at the age of sixty-one with the Requiem, following it much later with a Pater noster and Ave Maria, and finally a compilation of choral pieces with sacred texts published in 1898 as the Quattro pezzi sacri (Four Sacred Pieces). He composed the Requiem to commemorate the first anniversary of the death of the Italian patriot and writer Alessandro Manzoni. The completed “Messa da Requiem per l’anniversario della morte di Manzoni” was premiered May 22, 1874, at the church of San Marco in Milan under Verdi’s baton, and only days later (May 25) at La Scala. Verdi himself conducted it in numerous cities, and as David Rosen has noted, divided the work into two sections to include an intermission (after the Dies irae), generously accepted applause, and even encored numbers that were particularly well received. The Requiem contains seven large movements—Requiem, Dies irae, Offertorio, Sanctus, Agnus Dei, Lux aeterna, and Libera me, a succession of prayers for eternal rest, the terror of Judgment Day, a plea for forgiveness, glorification of God, and finally, deliverance. Verdi used the internal sections of each movement to express the most “private” and intimate moments of the work through his soloists, as in the concluding Libera me for soprano, and also in sections of the Dies irae that he assigned to the four soloists (the Mors stupebit for bass, the Liber scriptus for mezzo- soprano, the Recordare for soprano and mezzo, the Ingemisco for tenor, and the Confutatis for bass). Verdi’s career blossomed in the 1840s, and soon after he produced the famous trio of Rigoletto (1851), Il trovatore (1853), and La traviata (1853/1854) he moved permanently to his rural estate at Sant’Agata (near his birthplace) with the soprano Giuseppina Strepponi, whom he had met in 1841 and finally married in 1859. Between 1855 and 1871 he composed only six works and was more than content to live the life of a “gentleman farmer,” away from the grind of the city, its politics, and often byzantine artistic machinations. Verdi’s idyll was shattered by the deaths of two monumental figures in the formation, restoration, and survival of Italian culture in

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 23 the nineteenth century, Gioachino Rossini on November 13, 1868, and Alessandro Manzoni on May 22, 1873. For Rossini, Verdi proposed a collaborative Mass by thirteen of “the most distinguished Italian composers.” But plans for the intended Messa per Rossini fell apart before they could be fully realized, and the work only first saw the light of day in 1988, following musicologist David Rosen’s discovery of the lost manuscript in 1970. Verdi’s unused contribution to the project was a Libera me, which he later used as a point of departure for the “Manzoni Requiem.” Verdi had read Manzoni’s most famous novel, I promessi sposi (“The Betrothed”), as a teenager, and sustained his reverence and personal affection for the author throughout his life. In a letter of July 1868 to his dear friend Clara Maffei, Verdi called Manzoni a “Saint,” declaring that he “would have knelt before him, if men could be worshipped.” The project gave the semi-retired Verdi a sense of purpose, even of dignity, as it removed him from the role of “public clown,” as he put it to friends. He threw himself wholeheartedly into the task, not only as an artist, but also as a scholar, studying, according to anecdotal account, the sacred works of Mozart, Cherubini, and Berlioz before him. The clash between opera house and church became the central issue for the reception of Verdi’s Requiem from the beginning. Conductor Hans von Bülow (1830-1894), an

24 ardent champion of Richard Wagner’s works (despite the fact that his wife Cosima, daughter of Franz Liszt, left him for Wagner), attended the premiere and called it, among other things, an “opera in ecclesiastical costume.” Verdi, a self-defined athe- ist, was not particularly concerned about the issue of genre or performance venue (keep in mind that the Requiem was first performed in church and opera house in close succession). Moreover, as Giuseppina wrote to family friend Cesare Vigna in 1875, “a man like Verdi must write like Verdi, that is, according to his way of feeling and interpreting the texts....[T]he works must carry the imprint of the time and (if you will) of the individual.” While the Requiem projects a bit of theatricality, chiefly in the Dies irae and Libera me, Verdi left individual listeners to internalize his work intellectually, spiritually, and aesthetically for themselves. Modern audiences, accus- tomed to diversity of expression in the concert hall, opera house, and church, will be less likely to debate the issue. One important way to understand the music of the Requiem is through what Verdi himself called “tinta,” a “characteristic color” or sonority that can be defined by any number of factors ranging from musical motif to rhythmic gesture to semantic recur- rences. Tinta in the Requiem lies in the spiritual and musical polarities between eternal peace and judgment expressed in the broadest musical terms as low and high and loud and soft in the first two large movements—Requiem (“Rest”) and Dies irae (“Day of wrath”). Verdi begins and ends the work softly, situating much of the vocal and instrumental tessitura on the low side, while the vocal and textual “high,” not surprisingly, is in the Libera me for soprano. But such a large and complex work contains still more elements that contribute to its sonic footprint. First and foremost among these are the contrapuntal musical devices common to sacred expression—thematic imitation (played out fully in the fugues of the Sanctus and Libera me) and unaccompanied voices in the a cappella style (notably in the Pie Jesu). Moreover, Verdi’s musical lines have a tendency to move downward, usually through arpeggios, sighing motives, or a chromatic series (known as the “lament”) that then turn back on themselves, upward. Equally important are the profoundly dramatic roles for chorus and orchestra, and, finally, the expressive use of the voice— at first whispering and declamatory, but also lyrical, pleading, and often soaring, though always absent the stylistic flourishes and virtuosic displays essential to opera. Verdi’s Requiem begins in A minor, as soli muted cellos outline a descending A minor triad (E-C-A) and then slip even further down the scale to land on and hold the E an octave lower—the unstable fifth note of the home key (the so-called “dominant”), requiring resolution. So the phrase is a question, even though no words have been uttered; a conspicuous silence follows. There is an answer in the upward resolution to the tonic pitch, A, articulated by the cellos as the tenors and basses repeat sotto voce E’s on the word “Requiem”—“rest.” Altos follow and then sopranos in staggered succession, working their way back up through the same triad, but avoiding the tonic, which Verdi seems to withhold from his voices by keeping it below the surface in the orchestra. There is hope, though: A minor yields quickly to A major at the words “et lux perpetua luceat eis” (“let perpetual light shine upon them,” referring to the dead). Verdi differentiated levels of piano (“soft”) and forte (“loud”) with near-surgical skill, often through sometimes lengthy expressive markings—in the Requiem, “il più piano possibile” (“the softest piano possible”), in the Dies irae, “pppp con voce cupa e tristissima” (“with a hollow voice and the utmost sadness”), and later in the Ingemisco, “dolce con calma—dolcissimo morendo” (“sweetly, quietly dying”), on the words “Qui Mariam absolvisti” (“Thou, who pardoned Mary”). Julian Budden referred to the Dies irae as “an unearthly storm,” epitomized by chaotic scales and the crashes of the bass drum, which Verdi required to be struck ffff with “Le corde ben tese onde questo contrattempo

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 25 riesca secco e molto forte” (“the skin well tightened in order to make this disruption dry and very loud”). There are few events in all of music more viscerally exciting or dramatic than the path to the Tuba mirum section, where four trumpets in the orchestra are answered by four trumpets offstage (“in lontananza ed indivisibili”—“in the distance and invisible”) and become increasingly louder and faster, climaxing in the “Tutta forza fff” explosion, “Tuba mirum spargens sonum per sepulchra regionum...” (“The trumpet, scattering its awful sound across the graves of all lands...”). Verdi weaves the main musical themes of the Requiem and the Dies irae into later portions of the work, most poignantly in the final movement, the Libera me, where they reappear in reverse of the order first heard. The Dies irae interrupts the Libera me like the final crack of a storm and then dissolves into the peaceful repose of the falling triad, “Requiem.” The Requiem ends in C major, emerging from C minor (pppp) on a hushed, freely declamatory (“senza misura,” “unmeasured”) recitation, on just one note, of the words, “Deliver me.”

HELEN M. GREENWALD Helen M. Greenwald has taught at the New England Conservatory since 1991. The author of numerous articles on 18th- 19th-, and 20th-century vocal music, she is co-editor of the critical edition of Rossini’s Zelmira and editor of the critical edition of Verdi’s Attila, which was premiered in 2010 by the conductor Riccardo Muti in his Metropolitan Opera debut. Her latest project is The Oxford Handbook of Opera, forthcoming from Oxford University Press.

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 27 REQUIEM AND KYRIE Quartet and Chorus Requiem aeternam dona eis, Eternal rest grant them, O Lord; Domine; et lux perpetua luceat eis. and may light perpetual shine upon them. Te decet hymnus Deus in A hymn, O God, becometh Thee Sion; et tibi reddetur votum in in Sion; and a vow shall be paid Jerusalem: exaudi orationem to Thee in Jerusalem: O hear my meam; ad te omnis caro veniet. prayer; to Thee shall all ﬂesh come. Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us.

DIES IRAE Chorus Dies irae, dies illa The day of wrath, that day will Solvet saeclum in favilla, dissolve the world in ash, as Teste David cum Sibylla. David prophesied with the Sibyl. Quantus tremor est futurus, How great a terror there will be Quando Judex est venturus, when the Judge shall come who will Cuncta stricte discussurus. thresh out everything thoroughly. Tuba mirum spargens sonum The trumpet, scattering a wondrous Per sepulchra regionum, sound through the tombs of every land, Coget omnes ante thronum. will gather all before the throne.

Bass Mors stupebit et natura, Death and nature will stand Cum resurget creatura, amazed when creation rises again Judicanti responsura. to answer to the Judge.

Mezzo-soprano and Chorus Liber scriptus proferetur, A written book will be brought In quo totum continetur, forth which contains everything for Unde mundus judicetur, which the world shall be judged. Judex ergo cum sedebit, And so when the Judge takes his Quidquid latet, apparebit: seat whatever is hidden shall be Nil inultum remanebit. made manifest, nothing shall remain unavenged.

Soprano, Mezzo-soprano, Tenor, and Chorus Dies irae, dies illa The day of wrath, that day will Solvet saeclum in favilla, dissolve the world in ash, as Teste David cum Sibylla. David prophesied with the Sibyl. Quid sum miser tunc dicturus, What shall I, wretch, say, whom Quem patronum rogaturus, shall I ask to plead for me, when cum vix justus sit securus? scarcely the righteous shall be safe?

Solo Quartet and Chorus Rex tremendae majestatis, King of dreadful majesty, who Qui salvandos salvas gratis, freely saves the redeemed, save Salva me, fons pietatis. me, O Fount of Pity.

Soprano and Mezzo-soprano Recordare, Jesu pie, Recall, merciful Jesus, that I was Quod sum causa tuae viae, the reason for Thy journey: Ne me perdas illa die. do not destroy me on that day. Quaerens me, sedisti lassus, Seeking me, Thou didst sit down Redemisti crucem passus: weary, Thou didst redeem me, Tantus labor non sit cassus. having endured the cross: let not such great pains have been in vain. Juste Judex ultionis, Just Judge of vengeance, Donum fac remissionis give me the gift of redemption Ante diem rationis. before the day of reckoning.

Tenor Ingemisco tanquam reus, I groan as one guilty, Culpa rubet vultus meus, my face blushes with guilt; Supplicanti parce, Deus. spare the suppliant, O God. Qui Mariam absolvisti, Thou who didst absolve Mary Et latronem exaudisti, (Magdalen), and hear the prayer of Mihi quoque spem dedisti. the thief, hast given hope to me too. Preces meae non sunt dignae; My prayers are not worthy, but Sed tu bonus fac benigne, thou, O good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting ﬁre. Inter oves locum praesta, Give me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. placing me on Thy right hand.

Bass and Chorus Confutatis maledictis, When the damned are confounded Flammis acribus addictis, and consigned to keen ﬂames, Voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quasi cinis: a heart as contrite as ashes: take Gere curam mei ﬁnis. Thou my ending into Thy care. Dies irae, etc. The day of wrath, etc.

Solo Quartet and Chorus Lacrymosa dies illa, That day is one of weeping on Qua resurget ex favilla which shall rise again from the Judicandus homo reus. ashes the guilty man, to be judged. Huic ergo parce, Deus, Therefore spare this one, O God, Pie Jesu Domine, merciful Lord Jesus. Dona eis requiem. Amen. Grant them rest. Amen.

Please turn the page quietly, and only after the music has stopped.

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 29 OFFERTORIO Solo Quartet Domine Jesu Christe, Rex O Lord Jesus Christ, King of gloriae, libera animas omnium Glory, deliver the souls of all the ﬁdelium defunctorum de poenis faithful departed from the pains of inferni, et de profundo lacu; hell and from the deep pit: libera eas de ore leonis, ne deliver them from the mouth of absorbeat eas Tartarus, ne the lion, that hell may not swallow cadant in obscurum; sed signifer them up, and they may not fall into sanctus Michael repraesentet darkness, but may the holy eas in lucem sanctam. Quam standard-bearer Michael bring olim Abrahae promisisti, them into the holy light; which et semini ejus. Thou didst promise of old to Abraham and to his seed. Hostias et preces tibi, Domine, We offer Thee, O Lord, sacriﬁces and laudis offerimus; tu suscipe pro prayers of praise: do Thou receive animabus illis, quarum hodie them on behalf of those souls whom memoriam facimus; fac eas, we commemorate this day. Grant them, Domine, de morte transire ad O Lord, to pass from death to that vitam. Quam olim Abrahae life which Thou didst promise of old promisisti, et semini ejus. to Abraham and to his seed.

30 SANCTUS Double Chorus Sanctus, sanctus, sanctus, Holy, holy, holy, Lord God of Dominus Deus Sabaoth. Pleni Sabaoth. Heaven and earth are full sunt coeli et terra gloria tua. of Thy glory. Hosanna in the Hosanna in excelsis. Benedictus highest. Blessed is he who cometh qui venit in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

AGNUS DEI Soprano, Mezzo-soprano, and Chorus Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem. the sins of the world: grant them rest. Agnus Dei qui tollis peccata O Lamb of God, that takest away mundi, dona eis requiem the sins of the world: grant them sempiternam. eternal rest.

LUX AETERNA Mezzo-soprano, Tenor, and Bass Lux aeterna luceat eis Domine, Let everlasting light shine on them, cum sanctis tuis in aeternum: O Lord, with Thy saints for ever; for quia pius es. Requiem aeternam Thou art merciful. Grant them eternal dona eis Domine, et lux perpetua rest, O Lord, and let everlasting light luceat eis cum sanctis tuis in shine upon them with Thy saints aeternum, quia pius es. for ever; for Thou art merciful.

LIBERA ME Soprano and Chorus Libera me, Domine, de morte Deliver me, O Lord, from eternal aeterna in die illa tremenda, death in that awful day when the quando coeli movendi sunt et heavens and earth shall be moved: terra, dum veneris judicare when Thou shalt come to judge saeculum per ignem. the world through ﬁre. Tremens factus sum ego, et I am seized with trembling, and I timeo, dum discussio venerit fear the time when the trial shall atque ventura ira, quando approach, and the wrath to come: coeli movendi sunt et terra. when the heavens and the earth shall be moved. Dies irae, dies illa calamitatis et A day of wrath, that day of miseriae, dies magna et amara valde. calamity and woe, a great day and bitter indeed. Requiem aeternam dona eis, Rest eternal grant them, O Lord, Domine, et lux perpetua luceat eis. and may light perpetual shine upon them. Libera me, etc. Deliver me, O Lord, etc.

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 31 Guest Artists

Andris Nelsons On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume the post. He will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. Mr. Nelsons made his BSO debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine. Last summer he conducted both the Boston Symphony Orchestra (in Ravel’s La Valse) and the Tanglewood Music Center Orchestra (in Sarasate’s Carmen Fantasy with Anne-Sophie Mutter) as part of Tanglewood’s 75th Anniversary Gala (a concert recently issued on DVD and Blu-Ray), following that the next day with a BSO program of Stravinsky and Brahms. Most recently, he made his subscription series debut at Symphony Hall in January 2013, with music of Shostakovich and Tchaikovsky. As one of the most sought-after conductors on the international scene today, Andris Nelsons has earned distinction both on the opera and concert podiums. His tenure since 2008 as music director of the City of Birmingham Symphony Orchestra has garnered critical acclaim. With the CBSO he undertakes major tours worldwide, including an upcoming tour of Japan and the Far East, and regular appearances at such summer festivals as Lucerne, the BBC Proms, and the Berliner Festspiele, as well as an ongoing project to record the complete orchestral works of Tchaikovsky and Richard Strauss for Orfeo International. The first Strauss disc, featuring Ein Heldenleben, garnered critical praise. The majority of Mr. Nelsons’ recordings have been recognized with a Preis der Deutschen Schallplattenkritik; in October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his 2010 recording with the CBSO of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release, on both DVD and Blu-Ray, being Britten’s War Requiem with the CBSO. Over the next few seasons he will continue collaborations with the Berliner Philharmoniker, Wiener Philharmoniker, Het Koninklijk Concertge- bouworkest, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks, the New York Philharmonic, and the Philharmonia Orchestra. A regular guest at the Royal Opera House–Covent Garden, Wiener Staatsoper, and Metropolitan Opera, Mr. Nelsons returns this summer to the Bayreuth Festival for Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010. Before studying conducting, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra. He served as principal conductor of Nordwest- deutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007.

32 Kristīne Opolais Making her Boston Symphony Orchestra and Tanglewood debuts this evening, soprano Kristīne Opolais is a regular at such opera houses as the Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, and the Royal Opera House–Covent Garden, working with such conductors as Daniel Barenboim, Riccardo Chailly, Daniel Harding, Louis Langrée, Andris Nelsons, Gianandrea Noseda, and Kazushi Ono. In the 2010-11 season, she was an overnight sensa- tion at Bayerische Staatsoper singing the title role in Rusalka, and at Covent Garden in the title role of Madama Butterfly, garnering high critical praise for both performances. In the 2012-13 season, she made her Metropolitan Opera debut as Magda in La rondine, and her Opernhaus Zürich debut performing the title role of Jen˚ufa for the first time. Recent and upcoming engagements include returns to Deutsche Staatsoper Berlin and Wiener Staatsoper, both for La bohème, a return to Covent Garden for the title role in Tosca, and her debut at Hamburgische Staatsoper, which will also mark her role debut as Desdemona in Otello. Recent concert performances have included appearances at the Salzburg Festival (Shostakovich’s Symphony No. 14), and with Tonhalle Orchester Zürich, the Royal Danish Orchestra in Copenhagen, and WDR Sinfonieorchester Köln; she is a regular guest with the City of Birmingham Symphony Orchestra, with which she appears on tour. She made her debut with the Symphonieorchester des Bayerischen Rundfunks in summer 2012 at their Odeonsplatz concert, appeared in spring 2013 with the Vienna Symphony for concerts and a recording project, and appeared for the first time on Munich’s prestigious “Vocalissimo” concert series. Recent DVD recordings have included Deutsche Staatsoper’s production of Prokofiev’s The Gambler, in which she sang the role of Polina under the baton of Daniel Barenboim; Rusalka from the Bayerische Staatsoper production, which was released to much acclaim, and Tchaikovsky’s Eugene Onegin from the 2011 production at Valencia’s Palau de les Arts Reina Sofia. A CD recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica is planned for release on Orfeo International. Kristīne Opolais was a soloist of the Latvian National Opera from 2003 until 2007. She won the Paul Sakss Singers’ Award in 2004, the Latvian Annual Theatre Award for Best Opera Artist, and the Latvian Cultural Foundation Award in 2005. She was also awarded the Latvian Great Music Award in 2006 and 2007 for her role as Lisa in Pique Dame. Born in Latvia in 1979, Krist ne Opolais studied voice at the Latvian Academy of Music and with Margreet Honig in Amsterdam.

Lioba Braun In 2012, following her triumph as Isolde in concert performances of Tristan und Isolde under Andris Nelsons in Birmingham and Paris, Lioba Braun made her highly acclaimed debut in a fully staged production in Nuremberg. In fall 2011 she had added to her repertoire the role of the Marschallin in Der Rosenkavalier in Leipzig under Ulf Schirmer, also taking over on short notice the same role at Deutsche Oper Berlin under Donald Runnicles. Recent and upcoming projects include new productions of Parsifal under Stefan Soltesz in Essen, of Tristan und Isolde (Isolde) under Dmitri Jurowski in Antwerp, of Lohengrin in Cologne, of Die Frau ohne Schatten under Zubin Mehta in Florence, of Tristan und Isolde (Brangäne) under Mehta in Naples, Brangäne in concert under Donald Runnicles in Glas- gow and Edinburgh, Beethoven’s Ninth Symphony in Munich under Lorin Maazel and in Berlin under Marek Janowski, and Mahler’s Third Symphony under Christoph Eschenbach at the Schleswig-Holstein Festival. Among the highlights of previous seasons were multiple performances as Kundry in Parsifal, as Brangäne, as Fricka and Waltraute in Wagner’s Ring cycle, as Ortrud in Lohengrin, as the Nurse in Die Frau ohne Schatten, and as Venus in Tannhäuser in Berlin, Dresden, Leipzig, Düssel-

TANGLEWOODWEEK 4 GUESTARTISTS 33 dorf, Munich, Stuttgart, at the Bayreuth Festival, and in Vienna, Milan, Naples, Rome, Geneva, Barcelona, Madrid, and Los Angeles. Ms. Braun’s international career was ini- tiated in spectacular fashion when she took over as Brangäne on short notice in a 1994 Bayreuth Festival production of Tristan und Isolde under Daniel Barenboim. Important concert projects have included Strauss’s Four Last Songs in Aachen; Mahler’s Eighth Symphony under Riccardo Chailly in Leipzig (available on DVD), under Jonathan Nott in Baden-Baden, under Christian Thielemann in Munich, and under Myung-Whun Chung in Rome; Mahler’s Third Symphony under Eschenbach in Prague, under Mehta with the Berlin Philharmonic, and under Maazel in Munich, Rome, and Vienna; Mahler’s Second Symphony under Eschenbach in Granada and under Stéphane Denève in Stuttgart; Das Lied von der Erde under Maazel in Munich and under Janowski in Mon- treux; Mozart’s Requiem under Thielemann in Munich (available on CD), Beethoven’s Ninth Symphony under Thielemann in Munich, songs with orchestra by Reger and Strauss under Gerd Albrecht at the Northern German Radio, Mendelssohn’s Lobgesang under Sir Neville Marriner at Milan’s Teatro alla Scala and under Claudio Abbado in Berlin; Britten’s War Requiem under Jun Märkl in Leipzig, Schoenberg’s Gurrelieder under Chung in Rome, and Brahms’s Alto Rhapsody under Giuseppe Sinopoli in Dresden. Among her recordings are “Lioba Braun Sings Wagner” conducted by Peter Schneider, Mozart’s Requiem under Thielemann, Mahler’s Second and Eighth symphonies under Jonathan Nott, Mahler’s Eighth Symphony under Chailly, and Brahms’s Alto Rhapsody under Helmuth Rilling. Her latest recording, as Zia Principessa in Puccini’s Suor Angelica under Nelsons, was released in August 2012. Lioba Braun studied with Charlotte Lehmann and now teaches at Cologne’s Hochschule für Musik und Tanz.

Dmytro Popov Ukrainian tenor Dmytro Popov, who makes his Boston Symphony and Tanglewood debuts this evening, has also made significant debuts in theaters including the Royal Opera House–Covent Garden, Deutsche Oper Berlin, Bavarian State Opera in Munich, Teatro Regio Turin, Stuttgart Opera, Opéra de Monte Carlo, and at Australian Opera. In the 2012-13 season Mr. Popov returned to Covent Garden for his first performances (including one telecast into cinemas worldwide) as Rodolfo in La bohème. In fall 2012 he made his Opéra de Lyon debut singing his first Macduff in Macbeth. In February 2013 he made his debut at the Mariinsky Theater as Alfredo in La traviata under Valery Gergiev, returning in May as Vaudémont in Iolanta. Spring 2013 brought his debut with Sydney’s Australian Opera singing his first Don José in Carmen. This month, in addition to tonight’s BSO performance of the Verdi Requiem, he sings concert performances of Rachmaninoff’s Francesca da Rimini for Stuttgart Opera. Upcoming engagements include debuts at the Théâtre du Capitole in Toulouse as Gustavo in Un ballo in maschera and with Opéra du Rhin in Strasbourg as the Duke in Rigoletto, a return to Australia as Don José, and performances as Pinkerton in Madama Butterfly and Dimitry in Boris Godunov at Munich’s Bavarian State Opera, and as Alfredo at Deutsche Oper Berlin. Dmytro Popov studied in Kiev and made his professional debut at the National Theatre there as Lensky in Eugene Onegin. Early in his career he was also heard in Kiev as Riccardo in Un ballo in maschera, Enzo in La gioconda, Alfredo, and the Duke. Following his first important international debut, in Jonathan Miller’s production of La traviata in Kristiansand, Norway, he was invited to sing Nicias in Thaïs under Gianandrea Noseda for his Italian stage debut at Turin’s Teatro Regio. He was also heard in several roles with Riga’s Latvian National Opera, including Nemorino in L’elisir d’amore and the Prince in Rusalka. He made his Deutsche Oper Berlin debut as Pinkerton in 2009 and has since returned there as Cavaradossi in Tosca and Rodolfo in Luisa Miller. That same year he began a relationship with Stuttgart Opera, where he sang Edgardo in Lucia di

34 Lammermoor, Rodolfo in Luisa Miller, and the Chevalier in Dialogues des Carmélites. In 2011 he made his Bavarian State Opera debut as the Prince in Rusalka, and his Covent Garden debut as Lukov in Rimsky-Korsakov’s The Tsar’s Bride. Following his Spanish debut as Vaudémont in Peter Sellar’s new production of Iolanta at Madrid’s Teatro Real under Teodor Courentzis, Mr. Popov returned to Riga for Lucia di Lammermoor. He was also heard at Opéra de Monte Carlo as Andrei in Tchaikovsky’s Mazeppa and at the 2012 Festival de Radio France et Montpellier in Glinka’s A Life for the Tsar. He sang Rachminanoff’s The Bells at the Accademia di Santa Cecilia under Antonio Pappano and with the Russian National Orchestra in Moscow under Mstislav Rostropovich, and has also appeared with the Montreal Symphony under Kent Nagano.

Ferruccio Furlanetto One of the greatest basses of our time, Ferruccio Furlanetto is a noted interpreter of Verdi and Mozart roles, and also of the Russian and French opera repertoire. He has collaborated with numerous leading orchestras and with such conductors as Herbert von Karajan, Carlo Maria Giulini, Sir Georg Solti, Leonard Bernstein, Lorin Maazel, Claudio Abbado, Bernard Haitink, Daniel Barenboim, Georges Prêtre, James Levine, Semyon Bychkov, Daniele Gatti, Riccardo Muti, Valery Gergiev, Mariss Jansons, and Vladimir Jurowski. He performs in concerts and recitals at the world’s leading concert halls, in repertory ranging from Verdi’s Requiem to Russian songs and Schubert’s Winterreise. He has made numerous recordings of opera on CD and DVD, and his performances have been broadcast internationally on both radio and television. He makes regular appearances at such opera houses as La Scala Milan, the Royal Opera House–Covent Garden, Vienna State Opera, Opéra National de Paris, and Metropolitan Opera, as well those in Rome, Turin, Florence, Bologna, Palermo, Buenos Aires, Los Angeles, San Diego, and Moscow. For the Mariinsky Theatre in St. Petersburg, he became the first Italian bass to appear in the title role of Mussorgsky’s Boris Godunov, and earlier this year sang that role on the stage of the Bolshoi Theater, making him the only Western artist who has sung Boris in both of Russia’s major opera houses. Mr. Furlanetto’s 2012-13 season included Procida in I vespri siciliani at the Vienna Staatsoper, Fiesco in Simon Boccanegra at Lyric Opera of Chicago and the Royal Opera House, and his signature role of King Philip in Verdi’s Don Carlo at the Metropolitan Opera and the Royal Opera House. Another season highlight was the American premiere of Pizzetti’s Assassinio nella Cattedrale (Murder in the Cathedral) at San Diego Opera with Mr. Furlanetto as Thomas Becket. Other recent and upcoming engagements include Mustafa in the famous Ponnelle production of L’italiana in Algeri at Vienna State Opera, the title role in a new production of Massenet’s Don Quichotte at the Mariinsky Theater, a Christmas concert with Mariss Jansons and the Royal Concertgebouw Orchestra in Amsterdam, and recitals at the Rudolfinum in Prague and at the Vienna Staatsoper. Recent CD releases include a critically praised Mariinsky recording of Don Quichotte under Valery Gergiev with Mr. Furlanetto in the title role (2012) and, for Prestige Classics Vienna, a CD of Russian Lieder (2010) and another featuring Schubert’s Winterreise (2011), both recorded with Ukrainian pianist Igor Tchetuev. DVD releases include two from the Royal Opera House on EMI: Simon Boccanegra (named Recording of the Month by Gramophone) and Verdi’s Don Carlo, which won the Gramophone award in the category of “DVD Performance of the Year.” He also appears on DVD in Macbeth from Opéra National de Paris. Ferruccio Furlanetto is Honorary Ambassador to the United Nations, as well as Kammersänger and Honorary Member of the Vienna State Opera. Ferruccio Furlanetto’s only previous appearance with the Boston Symphony Orchestra was in an August 1995 Tanglewood performance of the Verdi Requiem with Christoph Eschenbach conducting.

TANGLEWOODWEEK 4 GUESTARTISTS 35 Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Mahler’s Symphony No. 3 on July 6 with conductor Rafael Frühbeck de Burgos, Verdi’s Requiem on July 27 with conductor Andris Nelsons (who becomes BSO Music Director Designate this fall), Poulenc’s Stabat mater on August 2 with Stéphane Denève, Ravel’s complete Daphnis et Chloé on August 3 with Charles Dutoit, and Beethoven’s Ninth Symphony on August 25 with BSO LaCroix Family Fund Conductor Emeritus Bernard Haitink, as well as a Friday Prelude concert of its own on August 23, when John Oliver conducts an all-Britten program marking the centennial of the composer’s birth. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella

36 music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and

TANGLEWOODWEEK 4 GUESTARTISTS 37 Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. The 2013 Tanglewood season marks the 50th anniversary of Mr. Oliver’s Tanglewood debut.

38 Tanglewood Festival Chorus John Oliver, Conductor (Verdi Requiem, July 27, 2013)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Michele Bergonzi # • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Adrianne Fedorchuk • Diana Gamet • Jean Grace • Carrie Louise Hammond • Alexandra Harvey • Eileen Huang • Carrie Kenney • Sarah Kornfeld • Nancy Kurtz • Suzanne Lis • Sarah Mayo • Heather O’Connor • Jaylyn Olivo • Naomi Lopin Osborne • Laurie Stewart Otten • Livia M. Racz • Adi Rule • Melanie Salisbury # • Laura C. Sanscartier • Johanna Schlegel • Joan P. Sherman § • Judy Stafford • Sarah Telford # • Lauren Woo

Mezzo-Sopranos

Virginia Bailey • Martha A.R. Bewick • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Barbara Durham • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Mara Goldberg • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Annie Lee • Katherine Mallin Lilly • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Kendra Nutting • Andrea Okerholm • Lori Salzman • Kathleen Hunkele Schardin • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Martha F. Vedrine • Cindy M. Vredeveld • Marguerite Weidknecht

Tenors

Brad W. Amidon • James Barnswell • John C. Barr # • Ryan Casperson • Stephen Chrzan • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • J. Stephen Groff # • David Halloran # • Matthew Jaquith • James R. Kauffman # • Michael Lemire • Lance Levine • Henry Lussier § • Mark Mulligan • David Norris * • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Peter L. Smith • Stratton Vitikos • Andrew Wang • Joseph Y. Wang • Hyun Yong Woo

Basses

Nicholas Altenbernd • Nathan Black • Daniel E. Brooks # • Stephen J. Buck • Paulo César Carminati • Matthew Collins • Michel Epsztein • Dylan Evans • Jeff Foley • Mark Gianino • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • Jeramie D. Hammond • Marc J. Kaufman • David M. Kilroy • Will Koffel • Bruce Kozuma • Carl Kraenzel • Daniel Lichtenfeld • Devon Morin • Stephen H. Owades § • William Brian Parker • Sam Parkinson • Donald R. Peck • Michael Prichard # • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Jayme Stayer • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Terry L. Ward

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

TANGLEWOODWEEK 4 GUESTARTISTS 39 The Cynthia and Oliver Curme Concert Sunday, July 28, 2013 The performance on Sunday afternoon is supported by a generous gift from Great Benefactors Cynthia and Oliver Curme. Cindy and Ollie are true champions of the Boston Symphony Orchestra both in Boston and the Berkshires. They are longtime concertgoers who have been a part of the BSO family for more than twenty-five years. Both Cindy and Ollie are passionate advocates for music and arts education, and they are musicians themselves. Cindy, who is a classically trained pianist, worked at the Symphony as part of the administration from 1984 to 1995, and later served as a volunteer. Cindy was elected to the BSO Board of Overseers in 2003 and the Board of Trustees in 2005. She is extremely active in her role as a Trustee, serving on numerous board committees, including the Annual Fund Committee, Overseers Nominating Committee, Principal and Leadership Gifts Committee, Strategic Plan- ning Committee, Tanglewood Task Force, and Engagement Committee, which she chairs. She has also served on many Opening Night gala committees at Tanglewood and Symphony Hall. Cindy and Ollie were co-chairs for 2010 Opening Night at Tanglewood and 2005 Opening Night at Symphony. In addition to her involvement at the BSO, Cindy has been involved with several arts organizations, including serving as a Trustee of the Boston Conservatory and the Terezín Music Foundation, and as an Overseer of From the Top. Ollie, who is a senior advisor at Battery Ventures, studied several instruments as a child, and continued into adulthood. Together, they share their commitment to music with their three sons, all of whom studied music. The Curmes are early supporters of the Tanglewood Forever Fund, and were leading supporters of the Artistic Initiative. Cindy and Ollie are longtime donors to the BSO Annual Funds, and they are members of the Koussevitzky Society at the Virtu- oso level, the Higginson Society at the Encore level, and the Fiedler Society at the Benefactor level. They are full fellowship sponsors through their support of the Tanglewood Music Center. Kevin Toler

40 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, July 28, 2:30pm THE CYNTHIA AND OLIVER CURME CONCERT

CHRISTOPH ESCHENBACH, conductor

DVORˇ ÁK “Carnival” Overture, Opus 92

PROKOFIEV Piano Concerto No. 3 in C, Opus 26 Andante—Allegro Theme (Andantino) and Variations Allegro ma non troppo GARRICK OHLSSON

{Intermission}

DVORˇ ÁK Symphony No. 9 in E minor, Opus 95, “From the New World” Adagio—Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

This year’s Boston Symphony Orchestra retiree will be acknowledged on stage at the end of this concert (see page 42).

TANGLEWOODWEEK 4 SUNDAYPROGRAM 41 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, July 26, 8:30pm THE EVELYN AND SAMUEL LOURIE MEMORIAL CONCERT and Sunday, July 28, 2:30pm THE CYNTHIA AND OLIVER CURME CONCERT

Please note that conductor-pianist Christoph Eschenbach has regretfully had to cancel his appearances this weekend due to an inner ear infection that prevents him from traveling. We are fortunate that EDO DE WAART was available at very short notice to conduct the Friday-night concert, and that LUDOVIC MORLOT was also available at very short notice to conduct the Sunday-afternoon concert. In addition, pianist GARRICK OHLSSON, who was already scheduled to appear in the Sunday concert, will now perform in the Friday-night concert as well, as pianist in Mozart’s concert aria “Ch’io mi scordi di te,” and also in Mozart’s Piano Concerto No. 27 in B-flat, K.595 (in place of the originally scheduled A major piano concerto, K.414—the only change to either of these programs). Biographies of EDO DE WAART and LUDOVIC MORLOT are printed in this insert. For a biography of GARRICK OHLSSON, see page 52 of this week’s program book.

For Friday, July 26, 8:30pm:

MOZART Piano Concerto No. 27 in B-flat, K.595 Allegro Larghetto Allegro GARRICK OHLSSON

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 27 in B-flat, K.595 First performance: March 4, 1791, Vienna, Mozart, cond. and soloist. First BSO performance: July 7, 1963, Tanglewood, Erich Leinsdorf cond., Rudolf Serkin, soloist. Most recent Tangle- wood performance: July 21, 2006, James Levine cond., Richard Goode, soloist. In 1791, when Mozart’s short span of years came to its untimely end, he was remembered in memorial tributes with a warmth that was far more than conventionally laudatory. Clearly his genius stood out at the time, ranked only with the other great Viennese master, Haydn. Yet to the general public his music was often difficult to understand—daring, highly flavored, complex—so that Mozart had all but given up concertizing in the normal way, which was to assemble the performers for a program that would consist largely of

TANGLEWOODWEEK 4 FRIDAY/SUNDAYINSERT 1 his own music (with himself as piano soloist), rent a hall, sell the tickets, and reap such profits as there may have been. Audiences apparently had stopped coming to Mozart’s “academies,” as such concerts were called. It was a far cry from the heady days of 1784 when he might appear a dozen times a month; even his last three symphonies, composed in the summer of 1788, probably for an intended series of academies, were not performed in his remaining three years of life. Thus it was that his final contribution to the piano concerto, a genre he had made uniquely his own six or seven years earlier, received its first performance not in an academy given by the composer himself, but rather one given by the distinguished and popular clarinetist Joseph Bähr on March 4, 1791, some two months after the completion of the work. How it was received is unknown. In this beautifully autumnal concerto, Mozart avoids the glitter of virtuosity for its own sake, to such an extent that it seems even subdued when compared with some earlier examples. But its expressive qualities are correspondingly richer, and the concerto shares many elements with the other works of his last year: a direct simplicity of melody, an interest in harmonic exploration, and a universality that transcends the passions of the past and enters into a newly tranquil world. The Allegro presents a wealth of tuneful ideas linked together with the utmost ease and naturalness, even when a little dotted fanfare in the woodwinds interrupts the melody in the strings and threatens to upset the parsing of its phrases. The music oscillates between major and minor, hinting at expressive depths, and the solo instrument picks up much of its figuration from the ritornello, tying everything together most ingeniously. The beginning of the development is designed purposely to disorient the ear, taking off from the extraordinarily distant key of B minor and moving rapidly through a bewildering succession of keys before returning home with Mozart’s usual felicity. The Larghetto opens with the unaccompanied piano singing an expressive song in a mood of tranquil resignation, though the orchestra responds with achingly poignant chromati- cisms later on. The finale is lighter, though not so extroverted as some of the earlier concerto rondos. The main tune is a chipper one that Mozart adapted almost immediately after finishing the concerto into a little spring song, “Komm, lieber Mai” (“Come, dear May”), K.596. For the rest, the rondo is graceful and vivacious, but its lack of the normal keyboard fireworks suggests that Mozart, at the end of his life, had found an entirely new relation to the audiences that he had courted so assiduously in the earlier years. They no longer had to be compelled to admiration; they could now be wooed by the richness of the music and not only the flash of the performance. And if, as the evidence seems to suggest, they were not attracted by either, then the composer was perfectly willing to go his own way, to write his music as he wanted it to go. Beethoven managed to do that a generation later and still find the means of support; Mozart tried it just a little too soon, as the penury of his last years demonstrates. Still, his late style recalls Winckelmann’s famous epigram on the inherent character of classical art—“edle Einfalt und stille Grösse” (“noble simplicity and quiet greatness”)—which could be applied just as appropriately to this, the capstone on the edifice of Mozart’s piano concertos.

STEVEN LEDBETTER

2 Guest Conductors

Edo de Waart (Friday, July 26, 8:30pm) Edo de Waart is chief conductor of the Royal Flemish Philharmonic, music director of the Milwaukee Symphony Orchestra, artistic partner of the Saint Paul Chamber Orchestra, and conductor laureate of the Netherlands Radio Philharmonic Orchestra. The 2011-12 season was his last at the helm of the Hong Kong Philharmonic Orchestra, a post he held for eight years. In addition to his many commitments in Europe and America, he also brought the Milwaukee Symphony to New York for a performance at Carnegie Hall. Regular guest conducting appearances take him to the San Francisco Symphony, NHK Symphony, and Royal Stockholm Philharmonic, as well as the Radio Filharmonisch Orkest Holland. As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses, including Bayreuth, the Royal Opera House–Covent Garden, Geneva Opera, Opéra de Bastille, Santa Fe Opera, and Metropolitan Opera. His most recent Met appearance, leading Der Rosenkavalier, garnered rave reviews; he will return to that house in future seasons. In addition to semi-staged and concert opera performances with his orchestras in the United States, he regularly conducts opera with the Netherlands Radio Philharmonic as part of the Concertgebouw’s Zaterdag Matinee series, last season featuring Richard Strauss’s Salome. His extensive discography encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. His most recent recordings have been with the Antwerp Philharmonic, including a CD of Mahler’s Symphony No. 1 released in December 2012. At age twenty-three, as winner of the Dimitri Mitropoulos Conducting Competition in New York, Edo de Waart was appointed assistant conductor to Leonard Bernstein at the New York Philharmonic. On his return to Holland, he was appointed assistant conductor to Bernard Haitink at the Concertgebouw Orchestra. The Rotterdam Philharmonic appointed him permanent guest conductor in 1967 and, later, its chief conductor and artistic director. Since then, he has also been music director of the San Francisco Symphony and Minnesota Orchestra, chief conductor and artistic director of the Sydney Symphony, and chief conductor of De Nederlandse Opera. Among many honors, Edo de Waart is a Knight in the Order of the Dutch Lion and an Honorary Officer in the General Division of the Order of Australia, in reflection of his invaluable contribution to Australian cultural life during his decade with the Sydney Symphony. He was also appointed an Honorary Fellow of the Hong Kong Academy for Performing Arts in recognition of his contribution to music internationally, and, in particular, his commitment to developing future generations of musicians in Hong Kong. Edo de Waart made his Boston Symphony Orchestra debut in July 1973 at Tanglewood, his Symphony Hall debut with the BSO following in February 1975. He has since conducted the orchestra on numerous occasions in Boston, New York, and other East Coast venues. His most recent subscription appearances were in March 2004, his most recent Tanglewood appearance in July 2004.

TANGLEWOODWEEK 4 FRIDAY/SUNDAYINSERT 3 Ludovic Morlot (Sunday, July 28, 2:30pm) Music director of the Seattle Symphony since 2011, French conductor Ludovic Morlot has energized the orchestra, introducing several community projects and collaborations with local musicians; his innovative programming has contributed to a significant increase in subscriptions for the orchestra’s different series. His 2012-13 programs with the Seattle Symphony included Mahler’s Symphony No. 4, Beethoven’s Symphony No. 9, Messiaen’s Turangalîla Symphony, a gala concert with Joshua Bell, Britten’s War Requiem, and the world premiere of John Luther Adams’s Become Ocean. The 2012-13 season was also Mr. Morlot’s first full season as chief conductor of La Monnaie in Brussels, where he led his first performances of Debussy’s Pelléas et Mélisande and Mozart’s Così fan tutte, as well as a concert featuring Alfred Bruneau’s Requiem and works by Bach and Berg. In 2010-11 he conducted Poulenc’s Les Mamelles de Tirésias at Opéra National de Lyon and the Opéra Comique in Paris. He has also recently collaborated with many distinguished singers, including Renée Fleming, Barbara Hannigan, Dawn Upshaw, Jessye Norman, and Thomas Hampson. Additional highlights of the current season include his debut at Japan’s Saito Kinen Festival and return engagements with the Royal Concertgebouw Orchestra, the Los Angeles Philharmonic, and the Orchestre Symphonique de Montréal. In 2011-12 he continued his longstanding collaboration with the Boston Symphony Orchestra, conducting two subscription weeks and a west coast tour. Mr. Morlot also appears regularly with the New York Philharmonic and the Chicago Symphony, and has recently conducted the Cleveland Orchestra, Pittsburgh Symphony, and Philadelphia Orchestra. In Europe, his debuts in 2011-12 included the Orchestre National de France, Dresdener Philharmonie, the Rundfunk-Sinfonieorchester Berlin, and BBC Scottish Symphony Orchestra. These engagements followed successful debuts with the London Philharmonic and Anne-Sophie Mutter at the Royal Festival Hall and on tour in Germany, and with the Czech Philharmonic. Other noteworthy recent appearances have included the Dresden Staatskapelle, Zurich Tonhalle, Royal Stockholm Philharmonic, Budapest Festival, and Tokyo Philharmonic. Ludovic Morlot has maintained a close working relationship with the Boston Symphony Orchestra since 2001, when he was the Seiji Ozawa Conducting Fellow at the Tanglewood Music Center. He was assistant conductor of the BSO under James Levine from 2004 to 2007 and has led the BSO both in Boston and at Tanglewood. From 2002 to 2004 he served as conductor-in-residence with the Orchestre National de Lyon under David Robertson. Trained as a violinist, Ludovic Morlot studied conducting at the Royal Academy of Music in London and then at the Royal College of Music as recipient of the Norman Del Mar Conducting Fellowship. He was elected an Associate of the Royal Academy of Music in 2007 in recognition of his significant contribution to music. Stu Rosner

4 Farewell, Thanks, and All Best

A departing member of the Boston Symphony Orchestra will be recognized on stage at the end of this afternoon’s concert. BSO violinist Ronald Knudsen will retire from the Boston Symphony Orchestra at the end of the 2013 Tanglewood season, after more than 49 years of service to the orchestra. We extend heartfelt thanks to Mr. Knudsen for his many years of dedication and service to the BSO and the musical community of Boston, and we wish him well in all of his future endeavors. RONALD KNUDSEN has been a member of the Boston Symphony Orchestra violin section since 1965. Before coming to Boston he was a member of the Baltimore and Detroit symphony orchestras. He received his early musical training in Minneapolis; from 1952 to 1959 he studied with violinist William Kroll at the Peabody Conservatory of Music in Baltimore. In 1958 he was a Tanglewood Music Center Fellow, serving as the TMC Orchestra’s concertmaster and also as a soloist. During his years in Boston, Ron has been active in many aspects of Boston’s musical community. He was heard frequently as a soloist and in chamber music programs. He was a soloist with the Boston Pops and the symphony orchestras of Brockton, Newton, Wellesley, and Worcester. The original violinist of Collage New Music, in 1971 he also helped found the Curtisville Consortium, a chamber music group of BSO colleagues and friends presenting concerts annually each summer in the Berkshires. As a conductor, Ron Knudsen has led numerous orchestras throughout New England and in Japan. In June 1990 he made his conducting debut with the Boston Pops Orchestra; during John Williams’s tenure, Mr. Knudsen appeared regularly for more than ten years as a guest conductor with both the Boston Pops Orchestra and the Boston Pops Esplanade Orchestra. Ron’s Boston Pops conducting debut featured his son, BSO cellist Sato Knudsen, as soloist; he and Sato are the fourth father/son player team in the history of the BSO. In addition, Ron has dedicated his life to sharing his passion and love of great music by working with non-professional orchestras around the Boston area. He served as both concertmaster and then music director of both the Brockton Symphony and Newton Symphony before he was invited to become music director of the New Philharmonia Orchestra of Massachusetts in 1995. Ron continues to serve in this position, where his work has been acclaimed by the press, orchestra, and audience for his vision of bringing music to the broader community, for his programming, and for his ability to bring professional standards to a non-professional ensemble. Ron’s family includes his wife Adrienne, his children Sato and Mayumi and their spouses, and his four grandchildren, all living in the Boston area. Ron is a longtime resident of Newton; his interests include the restoration of fine string instruments and of his Victorian period home.

42 NOTES ON THE PROGRAM

Antonín Dvoˇrák (1841-1904) “Carnival” Overture, Opus 92 First performance: April 28, 1892, Prague, Dvoˇrák cond. First BSO performances: January 1895, Emil Paur cond. First Tanglewood performance: August 13, 1978, Kazuyoshi Aki- yama cond. Most recent Tanglewood performance: August 16, 2002, James Conlon cond. International success came late to Dvoˇrák. After early musical training from a local schoolmaster, he began his formal musical education in 1859 at the Prague Organ School, having also spent some time as an assistant to his butcher-innkeeper father. He played viola in a Prague concert band, and then in the orchestra of the Czech Provisional Theatre, supplementing his income by working as an organist and giving private lessons. Dvoˇrák was principal violist at the Provisional Theatre when Richard Wagner led a concert of his own music there on Feb- ruary 8, 1863; from 1866 the conductor of the orchestra was Bedˇrich Smetana, before Dvoˇrák the most important Czech nationalist composer. In 1877 Dvoˇrák was championed by Johannes Brahms, who several years earlier had been on the judicial panel that awarded him an Austrian State Stipend for “young, poor, and talented musicians in the Austrian half of the [Hapsburg] Empire”; now Brahms encouraged his publisher Simrock to print some of the younger composer’s music, thereby bringing Dvoˇrák to the attention of other German publishers. With his Opus 46 Slavonic Dances, Dvoˇrák’s popularity in Germany and England was secured, and a series of visits to England (where he led the premiere of his Seventh Symphony in London in April 1885, in a concert of the Royal Philharmonic Society) solidified his reputation there as one of the greatest composers of his time. Continued success followed at home and abroad, including an extended period in America to head the National Conservatory of Music in New York while on leave from his post as Professor of Composition, Instru- mentation, and Musical Form in Prague. It was in New York that his final symphony, From the New World, had its premiere on December 16, 1893, and where, during his final year at the National Conservatory (1894-95), he composed his B minor Cello Concerto and began his last work for chamber ensemble, the string quartet in A-flat. From 1901 until his death he was the director of the Prague Conservatory. At Symphony concerts we know Dvoˇrák mainly as the composer of symphonies, the Cello Concerto, and perhaps the Violin Concerto. But there are overtures, too, including three conceived as a triptych (Nature, Life, and Love) and slated for publi-

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 43 cation as his Opus 91; Dvoˇrák composed these one after another between the end of March 1891 and January 1892, when he was fifty. (Carnival was to have been Opus 91, No. 2, set between the two we know now as In Nature’s Realm and Othello.) There are also four symphonic poems from 1896, based mainly on stories from Czech folklore (Simon Rattle led the BSO in one of these, The Golden Spinning Wheel, three years ago), and another from 1897, after which Dvoˇrák chose to focus his attention on opera; there are three of these from his final years, the “fairy tale opera” Rusalka being the best-known. In that late series of symphonic poems, Dvoˇrák’s intent was to depict in musical terms the specific characters and events of the tales that inspired him. In his previous orchestral program music—notably the Nature, Life, and Love triptych—his aim was a more general depiction through music of atmosphere and mood, allowing him, as he commented to a friend, to be “a poet as well as a musician.” Dvoˇrák led the first performance of the triptych on April 28, 1892, the night before he left for America; on that occasion the program listed the works as Nature, Life (Czech carnival), and Love (Othello). With Dvoˇrák out of the country, it was Brahms who ultimately corrected the proofs for the three overtures, which were published by Simrock in March 1894 as Dvoˇrák’s opus numbers 91 (In Nature’s Realm), 92 (Carnival), and 93 (Othello), the composer by then having decided that each of the three—in F major, A major, and F-sharp minor, respectively—should be viewed as “a self-contained whole.” In his biography of Dvoˇrák, Otakar Sourekˇ writes that, to judge from the composer’s own notations in the scores and also from contemporary statements Dvoˇrák wished in this cycle to draw in overture-form musical pictures of three of the most powerful impressions to which the human soul is subjected: the impression of the solitary, wrapped about by the exalted stillness of the summer

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 45

night; the impression of a man seized into the joyous vortex of life, and finally the feeling of a man in the power of a violent love poisoned by jealousy. In more concise terms: to present nature itself, free acceptance of it, and distortion of it. With this in mind, the composer unified the three overtures musically through use of a motto “nature theme” that appears originally as the principal idea of In Nature’s Realm, recurs occasionally in Carnival, and returns, darkened or distorted, in Othello. Beyond that, suffice to say that Carnival is marked by exuberance, high spirits, ten- derness, occasional shadows, and that airiness of musical texture so uniquely Dvoˇrák’s, with, midway through the sonata-form structure, a pastoral, open-air interlude (including a reference in the clarinet to the “nature theme”) that bears striking witness to the composer’s love of nature and his native land.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Sergei Prokofiev (1891-1953) Piano Concerto No. 3 in C, Opus 26 First performance: October 16, 1921, Chicago Symphony Orchestra, Frederick Stock cond., Prokofiev, soloist. First BSO performance: January 29, 1926, Serge Koussevitzky cond., Prokofiev, soloist. First Tanglewood performance: August 11, 1963, Erich Leinsdorf cond., Jorget Bolet, soloist. Most recent Tanglewood performance: August 22, 1998, Charles Dutoit cond., Martha Argerich, soloist. As the only child in a cultural and affluent household, Prokofiev’s early development was directed first by his doting pianist mother, who gave him his first lessons on the instrument, and then—when his talent proved to be unmistakable—by the young composer Reinhold Glière, who was hired to come as a private music tutor to Sont- zovka. By the time Prokofiev entered the St. Petersburg Conservatory in 1904 he had already completed a remarkable number of youthful works, mostly for the piano, but also including a violin sonata and an opera. During his first four years in St. Petersburg he pursued the course in composition. It was a difficult time: 1905 brought the first rumblings of the coming revolution, disturbing the tranquility of academic life (Rimsky-Korsakov was fired for anti-government activities, and other leading teachers resigned in protest). But Prokofiev himself was responsible for most of his own difficulties. Rather arrogant by nature, he was also younger than the other students and found it difficult to make friends with them. Most of his teachers were conservative pedagogues whose tutelage Prokofiev found dull; eventually he found himself in open clashes with his harmony teacher Liadov. Within a few years, the head- strong young colt had appeared in a recital of his own music that marked him as an enfant terrible, an image he assiduously cultivated for some time. Prokofiev’s experience in the composition program so disillusioned him to the pros- pects of teaching that he decided to pursue a career as a performer. Thus, though he had maintained at best a love-hate relationship with the St. Petersburg Conserva- tory—somewhat skewed to the latter—he decided to stay on for the study of piano and conducting. Here, too, his willful self-assurance made difficulties, but his piano teacher, Anna Esipova, proved as strong-willed as he. Prokofiev disdained to play the music of the Classical era without adding his own “improvements,” and he found the discipline of technical drills a waste of time. Only when Esipova threatened him with expulsion did he see the light. His four years of study proved essential to his career

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 47 as a soloist. He already played brilliant pieces brilliantly, but Esipova nourished a strain of lyricism that was to become as important to his composition as it was to his playing. Needless to say, he did not give up composing during this time. Before completing the piano program, Prokofiev had already finished his first two piano concertos (obviously designed as showpieces for himself) and had even boldly chosen to play the First Concerto as his piece for the final keyboard competition, although it was expected that the participants would choose a work from the established repertory. The years following Prokofiev’s graduation in 1914 were marked by war and revolution in the world at large and in Russia in particular. Yet in spite of this, Prokofiev began to achieve renown, composing some of his best-known works, including the Classical Symphony and the First Violin Concerto. Eventually, though, the unsettled condition of musical life and almost everything else persuaded him to go abroad, at least for a time. He set out with high hopes for New York, going the long way, through Vladivostock, Tokyo, and San Francisco. While on this long journey he began sketching a new opera,The Love for Three Oranges, as well as two movements of a string quartet. Though the opera was eventually to become his most successful stage work, its first production was fraught with difficulties. After signing a contract for a 1919 production in Chicago, Prokofiev finished the score in time for rehearsals. The sudden death of the intended conductor postponed the premiere for one year, then a second. Increasingly disillusioned with the United States, Prokofiev left for Paris in the spring of 1920. Paris was a good place for a Russian composer of advanced tendencies. Diaghilev’s brilliant Ballets Russes was open to the newest ideas, especially from Russian composers, and Serge Koussevitzky had founded his own concert series emphasizing new works. After the exciting premiere of his ballet The Tale of the Buffoon by the Ballets Russes (Paris loved it, London hated it), Prokofiev adjourned to the coast of Brittany for a summer of composition. There he achieved his long-held plan to write a Third Piano Concerto. Much of the material was already in hand, since he had been thinking about such a work since completing the Second Concerto in 1914, and some of the musical ideas go back even before that. He was still committed to the premiere of his opera in Chicago that fall, so he took the opportunity of introducing the new piano concerto there during the same trip. The Love for Three Oranges was premiered (in French, rather than the Russian in which it had been composed) at the Auditori- um Theater in Chicago on December 30, 1921; the concerto, though composed later, preceded the opera into the world by two months. Here, too, Prokofiev received diverse reactions: Chicago loved both works, New York hated them. Following this experience, Prokofiev returned to Paris, where he lived until his permanent return to the Soviet Union in 1938. Only concert tours brought him back to the United States during that period. By now, though, his two major “American” pieces are well established as favorites among Prokofiev’s output. The Third Concerto, in fact, is the most frequently performed of Prokofiev’s five contributions to that genre. Though it is not a whit less demanding technically than the first two concertos, it opens up a new and appealing vein of lyricism that Proko- fiev was to mine successfully in the years to come. At the same time his biting, acerbic humor is never absent for long, especially in the writing for woodwinds and sometimes for percussion.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

48 Antonín Dvoˇrák (1841-1904) Symphony No. 9 in E minor, Opus 95, “From the New World” First performance: December 16, 1893, New York Philharmonic, Anton Seidl cond. First BSO performances: December 29-30, 1893, Emil Paur cond. First Tanglewood performance: August 11, 1950, Serge Koussevitzky cond. Most recent Tanglewood performance: August 28, 2010, David Zinman cond. Antonín Dvoˇrák’s arrival in America on September 26, 1892, was a triumph of per- sistence for Jeannette Thurber, founder of the National Conservatory of Music in New York. She hoped that the appointment of this colorful nationalist with a wide reputation both as composer and teacher would put her institution on a firm footing and eventually produce American composers who could vie with any in the world. Dvoˇrák had at first been unwilling to leave his beloved Prague and to undertake the rigors of a sea voyage to the New World for so uncertain a venture, but Mrs. Thurber’s repeated offers eventually wore down his resistance. She also hoped that, in addition to teaching young American musicians, he would compose new works especially for American consumption. One potential project was an opera based on Longfellow’s Song of Hiawatha, which Dvoˇrák had already read and enjoyed in a Czech translation years before. The opera never materialized, but the subject did have an influence on the first large work Dvoˇrák composed here, his most famous symphony. Upon his arrival it quickly became clear to Dvoˇrák that he was more than a celebrity; great things were expected of him. He wrote to a Moravian friend in mock terror that what the American papers were writing about him was “simply terrible—they see in me, they say, the savior of music and I don’t know what else besides!” But after a few months he wrote to friends in Prague more equably: The Americans expect me... to show them to the promised land and kingdom of a new and independent art, in short to create a national music. If the small Czech nation can have such musicians, they say, why could not they, too, when their country and people is so immense. Shortly after writing this letter he began a sketchbook of musical ideas and made his first original sketches in America on December 19. The next day he noted on the second page one of his best-known melodic inventions: the melody assigned to the English horn at the beginning of the slow movement in the New World Symphony. In the days that followed he sketched other ideas on some dozen pages of the book, many of them used in the symphony, some reserved for later works, and some ultimately discarded. Finally, on January 10, 1893, Dvoˇrák turned to a fresh page and started sketching the continuous thread of the melodic discourse (with only the barest indications of essential accompaniments) for the entire first movement. From that time until the completion of the symphony on May 24 he fitted composition into his teaching as best he could. No piece of Dvoˇrák’s has been subjected to so much debate as the Symphony From the New World. The composer himself started it all with an interview published in the New York Herald on May 21, just as he was finishing the last movement. He was quoted as having said: I am now satisfied that the future of music in this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States. When I came here last year I was impressed with this idea and it has

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 49 developed into a settled conviction. These beautiful and varied themes are the product of the soil.... There is nothing in the whole range of composition that cannot be supplied with themes from this source. At another time Dvoˇrák complicated the issue by claiming to have studied the music of the American Indians and even to have found it strikingly similar to that of the Negroes. This view was surely mistaken, or at least greatly oversimplified. In any case, Dvoˇrák’s comments attracted much attention. Diligent American re- porters buttonholed European composers and asked for their views, then wrote that most composers felt Dvoˇrák’s recommendations to be impractical if not impossible. Thus, when the new symphony appeared six months later, everyone wanted to know if he had followed his own advice. Claims appeared on all sides that the melodic material of the symphony was borrowed from Black music, or from Indian music, or perhaps both. In another interview just before the first performance, Dvoˇrák empha- sized that he sought the spirit, not the letter of traditional melodies, incorporating their qualities, but developing them “with the aid of all the achievements of modern rhythm, counterpoint, and orchestral coloring.” Despite the composer’s disclaimer, accounts of his tracking down sources for the music became progressively embel- lished. By the time the New World Symphony made its third appearance in the programs of the BSO, in November 1896, the program annotator, W.F. Apthorp, stated flatly, if incorrectly, “Its thematic material is made up largely of Negro melodies from the Southern plantations.” Since Dvoˇrák sketched all the thematic material of the symphony during his fourth month in this country, when he had never been south or west of New York, it is hard to imagine what music “from the Southern plantations” he might have heard. And as for Indian melodies—well, there were a few unscientific transcriptions and even a doctoral dissertation published in German, as well as, perhaps, a Wild West show or two. And yet one credible witness, Victor Herbert, who was then the head of the cello faculty at the National Conservatory and a close associate of Dvoˇrák’s, recalled later that the young Black composer and singer Harry T. Burleigh, then a student at the conservatory, had given Dvoˇrák some of the tunes for the symphony. Certainly on a number of occasions Burleigh sang spirituals for Dvoˇrák, who took a great interest in him as one of the most talented students at the school. Whether or not he gave Dvoˇrák any actual melodies, he certainly helped him become familiar with the characteristic melodic types of the spiritual, including the frequent appearance of a pentatonic scale. Perhaps, then, it was to suggest a particularly “American” quality that Dvoˇrák re- worked some of the original themes from his sketchbook to make them more obviously pentatonic. The clearest case of this is the English horn solo at the beginning of the slow movement, which in the original sketch lacked most of the dotted notes and had no feeling of pentatonic quality. A very simple melodic change made the opening phrases strictly pentatonic, perhaps more “American.” The dotted rhythms, which were also an afterthought, may be a reflection of the rhythm of one of Bur- leigh’s favorite songs, “Steal Away.” Finally, the English writer H.C. Colles, who once asked Burleigh to sing for him the same tunes he had sung for Dvoˇrák, commented that the timbre of his voice resembled no orchestral instrument so much as the Eng- lish horn, the very instrument that Dvoˇrák finally chose to play the theme (after having planned originally to give it to clarinets and flutes). The title that Dvoˇrák appended to the symphony—almost at the last minute—has also been heavily interpreted, probably over-interpreted, in discussions of the work’s national character. Dvoˇrák added the words “Z Nového svˇeta” (“From the New World”) at the head of the title page in the middle of November 1893, just before his assis-

50 tant Josef Jan Kovaˇrik delivered the manuscript to Anton Seidl, who was to conduct the premiere. Many years later Kovaˇrik commented: There were and are many people who thought and think that the title is to be understood as meaning “American” symphony, i.e., a symphony with American music. Quite a wrong idea! This title means nothing more than “Impressions and Greetings from the New World”—as the master himself more than once explained. All in all, then, the American influence seems to be, for the most part, exotic trim- ming on a framework basically characteristic of the Czech composer. Today, nearly 120 years after the first performance of the piece, we can’t get so exercised over the question of whether or not the symphony is really American music; the point is moot now that American composers have long since ceased functioning as imitators of European art. Still, there is little reason to doubt Dvoˇrák’s evident sincerity when he wrote to a Czech friend during the time he was composing it, “I should never have written the symphony ‘just so’ if I hadn’t seen America.” The two middle movements, according to Dvoˇrák, were inspired in part by passages in The Song of Hiawatha. The slow movement was suggested by the funeral of Minne- haha in the forest, but at the same time Dvoˇrák instilled a deep strain of his own homesickness for Bohemia (perhaps it is no accident that the text that came to be attached to this melody was “Goin’ home”). Dvoˇrák’s image for the third movement was the Indian dance in the scene of Hia- watha’s wedding feast. Though it is nearly impossible to find anything that could be considered “Indian” music in this very Czech dance, he must have been referring to the dance of Pau-Puk-Keewis, who, after dancing “a solemn measure,” began a much livelier step. The whirling opening section has many of the same rhythmic shifts and ambiguities as the Czech furiant, and the remaining melodic ideas are waltzes, graceful and energetic by turns. The last movement is basically in sonata form, but Dvoˇrák stays so close to home base, harmonically speaking, and uses such square thematic ideas that there is not much energy until the very end, when, gradually, elements of all three earlier movements return in contrapuntal combinations (most stunning of these is the rich chord progression from the opening of the second movement, played fortissimo in the brass and woodwinds over stormy strings). Somehow in these closing pages we get the Czech Dvoˇrák, the Americanized Dvoˇrák, and even a strong whiff of Wagner (for a moment it sounds as if the Tannhäuser Venus is about to rise from the Venus- berg) all stirred into a heady concoction to bring the symphony to its energetic close.

STEVEN LEDBETTER Stu Rosner

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 51 Guest Artists

For a biography of Christoph Eschenbach, see page 17.

Garrick Ohlsson Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide for both his interpretive and technical skills. Although he has long been regarded as one of the world’s leading exponents of Chopin, he commands an enormous repertoire and is noted also for his performances of Mozart, Beethoven, and Schubert, as well as Romantic works. His wide and eclectic concerto repertoire encompasses some eighty concertos. Mr. Ohlsson’s 2012-13 season has included performances of Busoni’s rarely programmed Piano Concerto with the European Union Youth Orchestra and Gianandrea Noseda, including an appearance at the Edinburgh International Festival; concerts with the London Philharmonic followed by a month-long tour in Australia, where he will record, in performance, both Brahms concertos; concerts with the Cleveland Orchestra and Franz Welser- Möst in Florida; Rachmaninoff’s Concerto No. 3 with the Chicago Symphony under Sir Mark Elder; a Kennedy Center appearance with the Iceland Symphony as part of the center’s Nordic Festival; an east coast tour with the Swedish Chamber Orchestra; return visits to the orchestras of Chicago, Dallas, Philadelphia, Cincinnati, Houston, and Baltimore; and performances in Boston and New York with the Boston Symphony Orchestra under Rafael Frühbeck de Burgos. Honoring the bicentenary of Franz Liszt’s birth, his 2011-12 season included recitals of music by Liszt in Chicago, Hong Kong, London, and New York, where he also appeared at Carnegie Hall with the Atlanta Symphony and at Lincoln Center with the New York Philharmonic. A season earlier, marking the bicentenary of Chopin’s birth, he presented a series of all-Chopin programs in Seattle, Berkeley, and La Jolla, culminating at Lincoln Center. In conjunc-

52 tion with that project, a documentary, “The Art of Chopin,” was released in autumn 2010, followed by a DVD of the two Chopin concertos. In summer 2010 he was featured in all-Chopin programs at Ravinia and Tanglewood, as well as appearances in Taipei, Beijing, Melbourne, and Sydney. Also an avid chamber musician, Mr. Ohlsson has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, he can be heard on Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics. Recent and upcoming releases include a Hyperion disc of all the Brahms piano variations, Enrique Granados’s Goyescas, music of Charles Tomlinson Griffes, and, on Bridge Records, “Close Connec- tions” (a recital of 20th-century pieces) and works of Liszt. A native of White Plains, New York, Garrick Ohlsson began his piano studies at eight, attended the Westchester Conservatory of Music, and entered the Juilliard School at thirteen. His musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. Although he won first prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. He was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. Mr. Ohlsson made his Boston Symphony debut at Tanglewood in August 1971 and his BSO subscription series debut in January 1981. He has since been a frequent guest with the orchestra, most recently for performances of Rachmaninoff’s Rhapsody on a Theme of Paganini at Symphony Hall and Carnegie Hall this past April. His most recent Tanglewood appearances as concerto soloist were in 2008, in Schumann’s Piano Concerto with the BSO and Brahms’s B-flat piano concerto with the Tanglewood Music Center Orchestra. His appearances with the BSO have encom- passed concertos by Barber, Bartók, Beethoven, Brahms, Chopin, Copland, Grieg, Mozart, Prokofiev, Rachmaninoff, Schumann, Tchaikovsky, and Viktor Ullmann. He appeared in recital in Seiji Ozawa Hall this past Thursday night, and in January 2014 at Symphony Hall he will be soloist with the Boston Symphony Orchestra in the world premiere performances of Justin Dello Joio’s Piano Concerto, a BSO commission. BSO Archives

TANGLEWOODWEEK 4 GUESTARTISTS 53 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members' Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • James and Tina Collias • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter •

54 Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O'Connor • Mr. and Mrs. Gerard O'Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 4 SOCIETYGIVINGATTANGLEWOOD 55 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased Stu Rosner

July at Tanglewood

Friday, July 5, 6pm (Prelude Concert) Friday, July 12, 8:30pm MEMBERS OF THE BSO BSO—KAZUSHI ONO, conductor Music of Wolf and Tchaikovsky LEON FLEISHER, piano

Friday, July 5, 8:30pm WAGNER Siegfried Idyll Opening Night at Tanglewood RAVEL Piano Concerto for the left hand RIMSKY-KORSAKOV Scheherazade BSO—RAFAEL FRÜHBECK DE BURGOS, conductor Saturday, July 13, 10:30am JOSHUA BELL, violin Open Rehearsal (Pre-Rehearsal Talk, 9:30am) ALL-TCHAIKOVSKY PROGRAM BSO program of Saturday, July 13 Violin Concerto; Symphony No. 5 Please note that the complete film will not be shown, and that the music may not be performed in its entirety. Saturday, July 6, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, July 13, 8:30pm BSO program of Saturday, July 6 BSO—DAVID NEWMAN, conductor BERNSTEIN West Side Story Saturday, July 6, 8:30pm Bernstein’s score played live by the BSO, as a BSO—RAFAEL FRÜHBECK DE BURGOS, newly re-mastered HD print is shown with the conductor original vocals and dialogue intact ANNE SOFIE VON OTTER, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS Sunday, July 14, 2:30pm PALS CHILDREN’S CHORUS BSO—RAFAEL FRÜHBECK DE BURGOS, MAHLER Symphony No. 3 conductor LYNN HARRELL, cello Sunday, July 7, 2:30pm STRAVINSKY Suite from Pulcinella BOSTON POPS ORCHESTRA HAYDN Cello Concerto No. 1 KEITH LOCKHART, conductor BEETHOVEN Symphony No. 8 VINCE GILL, special guest Monday, July 15, 8pm Monday, July 8, 8pm TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—RAFAEL FRÜHBECK TMC CONDUCTING FELLOWS, conductors DE BURGOS and TMC CONDUCTING LAURA STRICKLING, soprano FELLOWS, conductors BRITTEN Prince of the Pagodas—Pas de six REILLY NELSON, mezzo-soprano BRITTEN Les Illuminations KODÁLY Dances of Galánta SHOSTAKOVICH Symphony No. 11, HARBISON Closer to My Own Life The Year 1905 BEETHOVEN Symphony No. 5 Wednesday, July 17, 8pm Thursday, July 11, 7:30pm BORODIN STRING QUARTET ORCHESTRA AND CHORUS OF Music of Brahms and Tchaikovsky EMMANUEL MUSIC RYAN TURNER, artistic director and Thursday, July 18, 8pm conductor BRYN TERFEL, baritone GORDON GIETZ, DEVON GUTHRIE, NATALIA KATYUKOVA, piano KATHERINE GROWDON, KRISTA RIVER, Program of German and English art songs LYNN TORGOVE, CHARLES BLANDY, ALEX RICHARDSON, DAVID KRAVITZ, Friday, July 19, 6pm (Prelude Concert) JAMES MADDALENA, DANA WHITESIDE, BOSTON CELLO QUARTET and FRIENDS DAVID CUSHING, and DONALD WILKIN- Music of Debussy, Falla, Fauré, Tchakovsky, SON, vocal soloists D’Rivera, and Déjardin, plus world premieres HARBISON The Great Gatsby, Opera in two acts by Hoshii and Hudgins Concert performance, sung in English with Friday, July 19, 8:30pm supertitles BSO—VLADIMIR JUROWSKI, conductor Friday, July 12, 6pm (Prelude Concert) JEAN-YVES THIBAUDET, piano MEMBERS OF THE BSO WAGNER Prelude to Die Meistersinger KATHERINE DOWLING and NICOLAS LISZT Totentanz, for piano and orchestra NAMORADZE, pianists BRAHMS Symphony No. 1 Music of Britten and Stravinsky

Saturday, July 20, 10:30am Friday, July 26, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—CHRISTOPH ESCHENBACH, BSO program of Sunday, July 21 conductor and piano CHRISTINE SCHÄFER, soprano Saturday, July 20, 8:30pm ALL-MOZART PROGRAM BSO—LOTHAR KOENIGS, conductor “Ch’io mi scordi di te…Non temer, amato Cast to include bene,” Concert aria for soprano and orchestra KATARINA DALAYMAN, soprano with piano obbligato, K.505; Piano Concerto (Brünnhilde) No. 12 in A, K.414; Symphony No. 41, Jupiter AMBER WAGNER, soprano (Sieglinde) BRYN TERFEL, bass-baritone (Wotan) Saturday, July 27, 10:30am WAGNER Die Walküre, Act III Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Sung in German with English supertitles BSO program of Sunday, July 28

Sunday, July 21, 2:30pm, Shed Saturday, July 27, 8:30pm MEMBERS OF THE BSO BSO—ANDRIS NELSONS, conductor PINCHAS ZUKERMAN, conductor, violin, KRIST¯INE OPOLAIS, LIOBA BRAUN, and viola DMYTRO POPOV, and FERRUCCIO ELIZABETH ROWE, flute FURLANETTO, vocal soloists JOHN FERRILLO, oboe TANGLEWOOD FESTIVAL CHORUS THOMAS ROLFS, trumpet VERDI Requiem AMANDA FORSYTH, cello Sunday, July 28, 2:30pm Concertos of VIVALDI and TELEMANN BSO—CHRISTOPH ESCHENBACH, J.S. BACH Concerto No. 2 in E for violin conductor and strings; Brandenburg Concerto No. 2 GARRICK OHLSSON, piano Monday, July 22, 8pm, Ozawa Hall DVORÁKˇ Carnival Overture TMC ORCHESTRA—STÉPHANE DENÈVE PROKOFIEV Piano Concerto No. 3 and TMC CONDUCTING FELLOWS, DVORÁKˇ Symphony No. 9, From the New World conductors JESSICA ZHOU, harp Monday, July 29, 7pm ALL-DEBUSSY PROGRAM STEVE MILLER BAND Prélude à l’Après-midi d’un faune; Jeux; Danses Tuesday, July 30, 8pm, Theatre sacrée et profane, for harp and orchestra; La Mer Film Screening Tuesday, July 23, 7pm JURO MOTOMASA Sumidagawa BARENAKED LADIES, BEN FOLDS FIVE, Free event; in Japanese with English subtitles and GUSTER A filmed performance of the 15th-century “Last Summer on Earth Tour 2013” Noh play that inspired Benjamin Britten’s Curlew River, an English-language setting for Wednesday, July 24, 8pm voices and instruments of the same story, to be performed July 31 and August 1 PAUL LEWIS, piano All-Schubert program Wednesday, July 31, 7:30pm (Sonatas in C minor, D.958; A, D.959; Thursday, August 1, 7:30pm and B-flat, D.960) MARK MORRIS DANCE GROUP Thursday, July 25, 8pm TMC FELLOWS GARRICK OHLSSON, piano MARK MORRIS, choreographer and director Music of Beethoven, Schubert, Griffes, and STEFAN ASBURY, conductor (Purcell) Chopin CHRISTINE VAN LOON and ALLEN MOYER, costume designers Friday, July 26, 6pm (Prelude Concert) JAMES F. INGALLS, lighting designer MEMBERS OF THE BSO ROBERT BORDO and ALLEN MOYER, Music of Stravinsky, Britten, and Mozart scenic designers BRITTEN Curlew River PURCELL Dido and Aeneas Fully-staged productions, sung in English

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, edu- cators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported, by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Jason Lyon, Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • Savory Harvest Catering Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Institute for Economic Research • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall