2019•20 Season

bso andris nelsons music director 2019•20 season

week 5 j.s. bach beethoven brahms bartók

seiji ozawa music director laureate bernard haitink conductor emeritus thomas adès artistic partner season sponsors Better Health, Brighter Future

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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 5

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 2 celebrating malcolm lowe 2 4 this week’s program

Notes on the Program

26 The Program in Brief… 27 J.S. Bach 35 Ludwig van Beethoven 43 Johannes Brahms 51 Béla Bartók 55 To Read and Hear More…

Guest Artist

63 Sir András Schiff

68 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on october 18 is given by author/composer jan swafford.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org “A work of art is the trace of a magnificent struggle.” GRACE HARTIGAN

On view now

Grace Hartigan, Masquerade, 1954. Oil on canvas. Collection of Lizbeth and Sponsored by Generously supported by George Krupp. © Estate of Grace Hartigan. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Arthur I. Segel • Wendy Shattuck • Nicole M. Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees Vernon R. Alden • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • William J. Poorvu • Peter C. Read • John Reed • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

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

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

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

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Membership as of October 2, 2019

week 5 trustees and advisors 5 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® selection by Boston magazine.

Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 BSO News

Celebrating “Leipzig Week in Boston” October 27-November 2, 2019 The week of October 27-November 2 is the BSO’s third “Leipzig Week in Boston” marking the multi-dimensional alliance between the Boston Symphony Orchestra and the Gewand- haus Orchestra (GHO) of Leipzig, of which BSO Music Director Andris Nelsons became Gewandhauskapellmeister in February 2018. For this season’s “Leipzig Week in Boston,” the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO on October 31, November 1 (this year’s Symphony Gala), and November 2, as well as two concerts of its own on October 27 (presented by the BSO in association with the Celebrity Series of Boston) and October 29, all to be conducted by Andris Nelsons. Among the additional “Leipzig Week” events will be two illustrated performance/discussions, free and open to the public, in Rabb Hall at the Boston Public Library, from 5:30-7 p.m. on Tuesday, October 29, and Wednesday, October 30, both to be led by Christoph Wolff, the Adams University Professor at Harvard University, former director (2001-2013) of the Bach Archive in Leipzig, and artistic advisor to the BSO/GHO Alliance. On Tuesday, October 29, BSO members will perform the first movement of Schubert’s String Quintet in C, D.956, prior to a discussion about the Gewandhaus Orchestra’s rich tradition of bringing canonical works, including landmark works of Schubert and Brahms, into the classical repertoire. On Wednesday, October 30, members of the BSO and GHO will perform Reicha’s Wind Quintet in E-flat, Opus 88, as part of a discussion illustrating the differences between the so-called “German” and “French” wind sounds and a consideration of the different sonic traditions and physical construction of the instruments themselves. For more information, please visit bso.org.

This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated in 2017 by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of the Gewandhausorchester (GHO) Leipzig, musicians from each of the two ensembles participate in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2019-20 season, BSO violinist Lisa Ji Eun Kim and flutist Clint Foreman are playing in Leipzig with the Gewandhaus- orchester, and GHO violinist Veronika Starke and GHO flutist Manfred Ludwig are playing at Symphony Hall with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accomplishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.”

week 5 bso news 7 Celebrating the Great American Soprano Jessye Norman (1945-2019) The Boston Symphony Orchestra notes with sadness the passing of Jessye Norman, who died on September 30. Her performances with the BSO spanned the years 1972 to 2002; she made her

Miro Vintoniv final appearance with the Boston Pops in 2012 at Tanglewood. Ms. Norman’s appearances with orchestra, in recital, and in opera, and her devotion to humanitarian endeavors, made a profound impression on all who encountered her. A BSO Archives display in the Brooke Corridor of Symphony Hall near the Massachusetts Avenue entrance celebrates the great soprano’s decades-long association with the Boston Symphony and Boston Pops. The photo shows Ms. Norman with John Williams, Seiji Ozawa, and Keith Lockhart backstage during the Symphony Hall Centennial Gala on October 14, 2000.

Boston Symphony Chamber Players at Jordan Hall at New England Conservatory This Sunday Afternoon, October 20, at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at New England Conservatory, beginning this Sunday, October 20, with music of Stravinsky, Thomson, Carter, Sofia Gubaidulina, and Falla, a program featuring harpsichordist Paolo Bordignon. Upcoming programs include music of Schulhoff, György Kurtág, Martinu,˚ Reinecke, and Brahms on January 19; music of Kevin Puts, Eric

YOUR TICKET PROTECTS THE BLUE PLANET

Photo: Keith Ellenbogen

8 Nathan, Smyth, and Mendelssohn on March 22; and music of J.S. Bach, Dahl, and Britten, plus the world premiere of Michael Gandolfi’s BSO-commissionedCantata with baritone John Brancy, on April 26. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at Jordan Hall.

BSO 101, the BSO’s Free Adult Education Series, Resumes on Wednesday, October 16, 5:30-7 p.m. “BSO 101: Are You Listening?” returns in 2019-20, again offering the opportunity to increase your enjoyment of BSO concerts. Each of this year’s four free sessions is designed to enhance your appreciation of music through discussion with BSO players, and through guided listening to recorded excerpts of music to be performed in upcoming BSO concerts. For the first session of this season—“Sharing Traditions: The BSO and Gewandhausorchester (GHO) Leipzig”— to take place in Higginson Hall on Wednesday, October 16, from 5:30-7 p.m., BSO Director of Program Publications Marc Mandel is joined by BSO violist Danny Kim, who participated in the BSO/GHO Musician Exchange program last season playing with the GHO in Leipzig, and GHO flutist Manfred Ludwig, who is playing with the BSO this fall. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, a free tour of Symphony Hall is offered immediately after each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place. Please call (617) 266-1200 or visit bso.org/bso101 (where further details are also available) under “Education & Community” on the BSO’s home page.

New England Conservatory and BSO Present “What I Hear” on Thursday, November 7, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The first of this season’s three “What I Hear” events is on Thursday, November 7, featuring French composer Betsy Jolas, whose BSO-commissioned Letters from Bachville receives its American premiere on that evening’s 8 p.m. BSO concert with Andris Nelsons conducting. Upcoming sessions feature British composer Helen Grime on Thursday, February 7, and Austrian composer HK Gruber on Thursday, April 2. Admission is free. For more information, please visit bso.org.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This month’s speakers are Robert Kirzinger (October 4 and October 25), Marc Mandel (October 11), and author/composer Jan Swafford (October 18).

week 5 bso news 9 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now oﬀers the most international ﬂights from Boston.

Based on 2019 departures from Boston, by Delta and its airline partners. Some oﬀerings are seasonal. individual tickets are on sale for all concerts in the bso’s 2019-2020 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Broadcasts on WCRB helping to ensure the future of the BSO’s BSO concerts are heard on the radio at 99.5 extraordinary performances. Named for WCRB. Saturday-night concerts are broad- Pulitzer Prize-winning composer and noted cast live at 8 p.m. with host Ron Della Chiesa, musician Walter Piston, who endowed the and encore broadcasts are aired on Monday BSO’s principal flute chair with a bequest, nights at 8 p.m. In addition, interviews with members of the Piston Society are recognized guest conductors, soloists, and BSO musicians in several of our publications and offered a are available online at classicalwcrb.org/bso. variety of exclusive benefits, including invita- Current and upcoming broadcasts include tions to events in Boston and at Tanglewood. this week’s program with Sir András Schiff as soloist and conductor for music by Bach, If you would like more information about Beethoven, Brahms, and Bartók (October 19; planned gift options and how to join the encore October 28); next week’s program Walter Piston Society, please contact Jill Ng, under Susanna Mälkki of music by Fauré, Director of Planned Giving and Senior Indi- Messiaen, and Debussy plus the American vidual Giving Officer, at (617) 638-9274 or premiere of Dieter Ammann’s The Piano [email protected]. We would be delighted to help Concerto (“Gran Toccata”) with soloist you orchestrate your legacy with the BSO. Andreas Haefliger (October 26; encore November 4); and the following week’s joint BSO Members in Concert concert with the BSO and Gewandhausor- chester Leipzig under Andris Nelsons of BSO violist Michael Zaretsky and pianist Vytas music by Strauss, Haydn, Schoenberg, and Baksys play a recital of music for violin and Scriabin (November 2; encore November 11). piano—Mozart’s violin sonatas in B-flat (K.454) and A (K.526), Brahms’s D minor sonata, Op. 108, and Baksys’s Chaconne Planned Gifts for the BSO: Grandissimo—on Sunday, October 20, at 3 p.m., Orchestrate Your Legacy at A.R.R. Recital Hall at Rivers School Conser- vatory, 333 Winter St., Weston, MA. Admis- There are many creative ways that you can sion is free. For more information, call (781) support the BSO over the long-term. Planned 235-6840 or e-mail [email protected]. gifts such as bequest intentions (through your will, personal trust, IRA, or insurance Founded by former BSO percussionist Frank policy), charitable trusts, and gift annuities Epstein, Collage New Music, David Hoose, can generate significant benefits for you music director, opens its season with a concert now while enabling you to make a larger gift entitled “Distinguishing the Aesthetic(s)”— to the BSO than you may have otherwise including music of Giacinto Scelsi, Elliott thought possible. In many cases, you could Carter (featuring soprano Sharon Harms), realize significant tax savings and secure an Tobias Picker, and Steven Mackey—at 8 p.m. attractive income stream for yourself and/ on Sunday, October 20, at Pickman Hall or a loved one, all while providing valuable at the Longy School of Music, 27 Garden future support for the performances and Street, Cambridge. Tickets are $30 (dis- programs you care about. counts for seniors and students), available at collagenewmusic.org. Admission includes a When you establish and notify us of your pre-concert talk at 7 p.m. and a post-concert planned gift for the Boston Symphony reception. Orchestra, you will become a member of the Walter Piston Society, joining a group of BSO members Sheila Fiekowsky, violin, Daniel the BSO’s most loyal supporters who are Getz, viola, and Richard Ranti, bassoon,

week 5 bso news 11 Lifelong learning is healthy living on the campus of Lasell University

For more information and to schedule a tour, contact us at 617-663-7044 or visit lasellvillage.org

The Tudors 2019/20 Season

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JOIN THE JOURNEY BY CALLING 617.826.1626 OR VISIT ODYSSEYOPERA.ORG #ODYSSEYOPERA

12 will join flutist Linda Toote, oboist Andre increased, there have also been continuing Bonsignore, and clarinetist Catherine expressions of concern from concertgoers Hudgins for music of Ibert, Bozza, Thompson, and musicians who find themselves dis- Mozart, and Françaix in a chamber music tracted not only by the illuminated screens concert to benefit the West Stockbridge on these devices, but also by the physical Historical Society. This performance of the movements that accompany their use. For West Stockbridge Chamber Players will this reason, and as a courtesy both to those be held on Sunday, November 3, at 2 p.m. on stage and those around you, we respect- at the Old Town Hall, 9 Main Street, West fully request that all such electronic devices Stockbridge, MA. Tickets are $35 and can be be completely turned off and kept from view reserved by e-mail (info@weststockbridge- while BSO performances are in progress. history.org) or at local West Stockbridge In addition, please also keep in mind that merchants (look for the “blue note” in down- taking pictures of the orchestra—whether town business windows). photographs or videos—is prohibited during concerts. Thank you very much for your Founded by former BSO cellist Jonathan Miller, cooperation. the Boston Artists Ensemble performs its second program of the season, “Kaleido- scope,” on Friday, November 8, at 8 p.m. On Camera With the BSO at Hamilton Hall in Salem and on Sunday, The Boston Symphony Orchestra frequently November 10, at 3 p.m. at St. Paul’s Episcopal records concerts or portions of concerts Church, 14 St. Paul Street, Brookline. The pro- for archival and promotional purposes via gram includes the world premiere of a new our on-site video control room and robotic work for cello and piano by Harold Melzer, cameras located throughout Symphony Hall. commissioned by Mr. Miller, plus music of Please be aware that portions of this con- Beethoven, Turina, and Granados. Tickets cert may be filmed, and that your presence are $30 (discounts for seniors and students), acknowledges your consent to such photog- available at the door. For more information, raphy, filming, and recording for possible use visit bostonartistsensemble.org or call (617) in any and all media. Thank you, and enjoy 964-6553. the concert. Andris Nelsons and members of the BSO perform in the Terezín Music Foundation 2019 Gala at Symphony Hall on Monday, Comings and Goings... November 11, at 6 p.m. (preceded by a recep- Please note that latecomers will be seated tion at 5). The program includes Hans Krása’s by the patron service staff during the first Overture for Small Orchestra and André convenient pause in the program. In addition, Previn’s Quintet for Horn and String Quartet, please also note that patrons who leave the which was commissioned by the foundation. auditorium during the performance will not Tickets to the gala start at $150 and can be be allowed to reenter until the next convenient purchased at tmfgala.org/tickets.html or by pause in the program, so as not to disturb the calling (857) 222-8263. performers or other audience members while the music is in progress. We thank you for Those Electronic Devices… your cooperation in this matter. As the presence of smartphones, tablets, and other electronic devices used for commu- nication, note-taking, and photography has

week 5 bso news 13 on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of legendary BSO conductor Serge Koussevitzky done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour

TOP OF PAGE, LEFT TO RIGHT: Jesús María Sanromá and Arthur Fiedler, c.1930 (photographer unknown) Season ticket, made of brass, from the BSO’s inaugural subscription season, 1881-82 (Bridget Carr) Seiji Ozawa conducting at Beijing’s Capital Stadium, March 1979 (Story Lichfield)

week 5 on display 15 Marco Borggreve

Andris Nelsons

The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty- six weeks of concerts this season, ranging from repertoire favorites by Beethoven, Dvoˇrák, Gershwin, Grieg, Mozart, Mahler, Rachmaninoff, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, Arturs Maskats, and HK Gruber. The season also brings the continuation of his complete Shosta- kovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists, including a concert performance of Tristan und Isolde, Act III—one of three BSO programs he will also conduct at Carnegie Hall—with Jonas Kaufmann and Emily Magee in the title roles. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai.

In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhaus- orchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance is a focus on complementary programming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. For this season’s “Leipzig Week in Boston,” under Maestro Nelsons’ leadership in November, the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO as well as two concerts of its own.

In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam; in May 2016, a tour that

16 took them to eight cities in Germany, Austria, and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). This November, a new release on Naxos features Andris Nelsons and the orchestra in the world premieres of BSO-commissioned works by Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

During the 2019-20 season, Andris Nelsons continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

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

week 5 andris nelsons 17 Boston Symphony Orchestra 2019–2020

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

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

u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 18 photos by Robert Torres and Winslow Townson

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

week 5 boston symphony orchestra 19

Celebrating Malcolm Lowe

Malcolm Lowe, who joined the BSO as concertmaster in 1984 during Seiji Ozawa’s music directorship, has retired following thirty-five years in that position. In 1984, Mr. Lowe became the tenth concertmaster of the BSO since its founding in 1881 and only its third since 1920. His tenure as BSO concertmaster has been exceeded by just one other in the orchestra’s 138-year history, that of Richard Burgin, whose forty-two-year tenure as concertmaster began in 1920. As concertmaster, Malcolm Lowe has been the leader of the Boston Symphony Orchestra’s

Marco Borggreve string section, as well as violinist and artistic director of the Boston Symphony Chamber Players (BSCP). For the past three-and-a-half decades, he has played as concertmaster on national and international tours as well as on numerous BSO and BSCP recordings; he has played a significant role with his BSCP colleagues in commissioning new works for the Chamber Players; and he has been heard with the BSO in major works for solo violin and orchestra, as well as in such key violin solos of the orchestral repertoire as those in Brahms’s First Symphony, Beethoven’s Missa Solemnis, Strauss’s Ein Heldenleben, and Rimsky-Korsakoff’s Scheherazade. He served on the search committee that led to Andris Nelsons’ appointment as BSO music director; he was an active participant throughout his tenure on every audition committee organized to fill vacant positions in the orchestra; and he has been a faculty member at the Tanglewood Music Center.

Born to musical parents—his father was a violinist and his mother a vocalist—on a farm in Hamiota, Manitoba, Malcolm Lowe moved with his family to Regina, Saskatchewan, at the age of nine. He studied at the Regina Conservatory of Music with Howard Leyton- Brown, former concertmaster of the London Philharmonic, and later studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Institute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky. Prior to his Boston appointment, he was concertmaster of the Quebec Symphony Orchestra. The recipient of numerous awards, he was one of the top laureate winners in the 1979 Montreal International Violin Competition.

A Message From Malcolm Lowe

“I have decided that it is time for me to retire as the Boston Symphony Orchestra’s concertmaster, to begin a new adventure and artistic journey, and listen to the voices beckoning me to do other things with the rest of my life.

“From the bottom of my heart, I thank my orchestra colleagues and Andris Nelsons for their dedication and their ability to delve deeply into the music and ask the unanswerable questions—to find the voice that lifts music from the ordinary to an extraordinary living poetry. I will cherish forever the shared moments of everyday work,

22 moments striving in our artistic search, practicing, trying to perfect, to contribute, to give meaning to our efforts, the music, our team, and our orchestra. I am also forever grateful to our generous audiences and donors for their incredible passion and support year after year, concert after concert—their enthusiasm never wanes.

“My recovery to health and playing this summer at Tanglewood after a year’s absence due to a concussion injury has been one of my most satisfying accomplishments—truly a mountain conquered. I feel so blessed that I was able to meet this challenge and get back to full strength and power. Being able to perform again with all of my colleagues was a gift to me, and I am so very grateful to all of them for their many kind words of support and encouragement.

“It was my honor to serve as the Boston Symphony Orchestra’s concertmaster for the past thirty-five years. It was really an exciting adventure and brought unexpected meaning to a boy from the prairies of Canada.”

Some Words From Andris Nelsons

“Malcolm Lowe’s thirty-five-year career as Boston Symphony Orchestra concertmaster represents an extraordinary dedication and commitment to excellence at the highest level of music-making.

“Malcolm has inspired generations of music lovers with his exquisite musicality and beauty of sound, along with his unerring consistency of performance, time and again, at the highest levels of his art form. As only the third BSO concertmaster in nearly a century, Malcolm leaves a legacy of musical excellence and leadership that will live on among the singular accomplishments that have contributed to the BSO’s storied history and its reputation as one of the world’s greatest orchestras.”

“We are deeply indebted and grateful to Malcolm for sharing his countless musical gifts with us these many years. We wish him the very best as he moves into a beautiful new chapter of his life while remaining one of the Marco Borggreve most treasured members of the BSO family.”

week 5 celebrating malcolm lowe 23 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 139th season, 2019–2020

Thursday, October 17, 8pm Friday, October 18, 1:30pm Saturday, October 19, 8pm

sir andrás schiff, conductor and piano

j.s. bach piano concerto in f minor, bwv 1056 [Allegro] Largo Presto sir andrás schiff Marco Borggreve

24 beethoven piano concerto no. 1 in c, opus 15 Allegro con brio Largo Rondo: Allegro scherzando mr. schiff

{intermission} brahms variations on a theme by haydn, opus 56a bartók “dance suite” Moderato— Allegro molto— Allegro vivace— Molto tranquillo— Comodo— Finale: Allegro

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10 and the afternoon concert about 3:30 First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 5 program 25 The Program in Brief...

The Hungarian-born pianist Sir András Schiff leads Bach’s F minor keyboard concerto and Beethoven’s Piano Concerto No. 1 from the keyboard on the first half of this concert, and conducts Brahms’s Haydn Variations and Bartók’s Dance Suite from the podium for the second half. The three-movement F minor concerto is one of several Bach completed during the 1730s for use by Leipzig’s Collegium Musicum. Most of these pieces are tran- scriptions for harpsichord of concertos for violin, oboe, or other melodic instruments, some by Bach himself, dating from as many as two decades earlier.

Beethoven’s Piano Concerto No. 1 dates from early in his career, when he was in his twenties and first presenting himself as both composer and performer. Although he was still under the influence of Mozart and Haydn—the latter was his teacher for a short time—his adventurous and distinctive voice is evident even in his early works. Though published first, the C major concerto actually post-dates the B-flat concerto (No. 2, Opus 19), so is a bit more adventurous, individual, and self-assured. Unexpected intro- spection, with extended minor-key episodes against the airy home key of C, gives the work a touch of emotional depth that balances the virtuosic sparkle required of the soloist.

Linking Beethoven’s teacher with his greatest successor is Johannes Brahms’s Variations on a Theme by Haydn, the last major orchestral work Brahms wrote (1873) before finally finishing his long-awaited Symphony No. 1. The Haydn Variations are based on the “Chorale St. Antoni,” which Haydn—who may not have written the theme itself—used in a divertimento for wind ensemble. In the Haydn Variations, Brahms emphasizes contrast and change while deploying a catalog of contrapuntal and orchestrational tech- niques. Following the theme and the eight variations, the finale is a grand summing-up in the form of a passacaglia, itself a series of shorter variations based on a portion of the theme’s harmonic progression.

An outstanding pianist and composer as well as a pioneer of the field of ethnomusicology, Béla Bartók collected and studied folk music, especially that of his native Central Europe, and frequently incorporated its elements into his own works. Like Dvoˇrák’s popular Slavonic Dances, Bartók’s Dance Suite displays its folk-music colors boldly. Fulfilling a commission for works celebrating the 50th anniversary of the unification of Buda and Pest, he wrote the Dance Suite in 1923 while completing his intensely modern ballet score The Miraculous Mandarin. Bartók appropriately chose to evoke the region’s folk music in a work aimed squarely at a public audience. The folk-music-like themes, though, were invented by the composer and represented what he called “idealized peasant music.” Beyond its musical substance, the wide-ranging ethnic and national stylistic origins of the Dance Suite were a defiant refutation of the increasing call for ethnic purity in Central Europe in the 1920s.

Robert Kirzinger

26 Johann Sebastian Bach Keyboard Concerto in F minor, BWV 1056

JOHANN SEBASTIAN BACH was born in Eisenach, Thuringia, in central Germany, on March 21, 1685, and died in Leipzig on July 28, 1750. His F minor keyboard concerto, BWV 1056, dating from the mid-1730s, is evidently a transcription of an earlier concerto, now lost, for either oboe or violin, probably in G minor. The first performance of this concerto likely took place soon after its completion as part of the concerts of the Leipzig Collegium Musicum, of which Bach was director.

IN ADDITION TO THE SOLO KEYBOARD PART (here played on piano), the score of the F minor concerto, BWV 1056, calls for a string orchestra—first and second violins and violas—plus continuo, played here by cellos and basses.

The genre of the concerto as we know it—a work combining a single or multiple solo instruments with a larger ensemble—only began to solidify in the late 1600s, although the term, the origin of which isn’t quite clear, had been in use for some time. The genre initially developed in Italy; the first important concertos for solo instrument and ensemble—as well as the first to appear in print, in the 1690s—were those by Giuseppe Torelli (1658-1709). A generation later, Antonio Vivaldi (1678-1741), one of the great violinists of his age, published his solo concerto collection L’estro armónico. These works established the concerto as a medium in which the soloist or soloists were clearly the center of attention, their parts demanding virtuosity and independence radically distinct from the humbler music of the ensemble. Vivaldi’s works are the model for the concerto tradition passed down to us today, through Mozart and Brahms to Stravinsky to Dieter Ammann. Even if that model is explicitly rejected, it’s still the precedent composers must reckon with.

Upon its publication in Amsterdam in 1711, L’estro armónico quickly made its way throughout Europe, becoming enormously influential in the process. Johann Sebastian Bach transcribed for solo harpsichord or organ many of Vivaldi’s concertos (as well as those of other composers) as a way of assimilating the best models of the age. Much

week 5 program notes 27 Program page for the first Boston Symphony Orchestra performance of Bach’s F minor keyboard concerto, BWV 1056, on January 2, 1914, with pianist Ruth Deyo and conductor Karl Muck (BSO Archives)

28 of this self-education took place in Weimar, where Bach was employed from 1708 to 1717. The six Brandenburg Concertos, completed by 1721, were a culmination of these efforts, in which Bach synthesized and invented a variety of approaches to the com- bination of single or multiple soloists with ensembles of various sizes. With the Bran- denburg Concerto No. 5, Bach is said to have written the first concerto for keyboard and ensemble, in which the harpsichord, instead of its usual role as a member of the continuo accompaniment, is given a virtuosic obbligato part throughout, as well as an extended cadenza.

When Bach took up the post of Kantor of the Thomasschule in Leipzig in 1723, he could devote less time to “pure” instrumental music. His Leipzig duties included writing music for Sunday services, church feast days and special services, and other special occasions, such as weddings and funerals. In his first two years he composed two complete church-year cycles of cantatas, each cycle comprising more than sixty works. He completed two more cycles by 1729, and a fifth by the 1740s. In addition, he had overall responsibility for the music programs of Leipzig’s four principal churches, involving four choruses of boys drawn from the boarding students of the Thomasschule. He was ultimately responsible for the boys’ education as well as their musical training.

Although by their very nature the cantatas are primarily vocal works, for the sake of musical and dramatic variety Bach employed a variety of approaches to style and genre within these multi-movement pieces: chorales and other settings for full chorus, arias and recitatives for one or more solo voices sometimes paired with an obbligato solo instrument, purely orchestral movements, and even concerto movements for an instrumental soloist with ensemble. Among the latter type can be found several that are tran- scriptions of earlier Bach works—for example, the organ concerto that appears in the cantatas nos. 29, Wir danken dir, Gott, wir danken dir, and 120a, Herr Gott, Beherrscher aller Dinge, originated as the Preludio of the composer’s Partita in E for solo violin. Another such movement is the opening Sinfonia for oboe solo, strings, and continuo from the 1729 cantata Ich steh mit einem Fuß im Grabe. The source of that movement is also the basis for the Adagio of the F minor keyboard concerto, BWV 1056, one of a group of concertos for one or more keyboards with orchestra that Bach completed in the mid-1730s.

After half a decade of near-total immersion in cantatas and Passions, in 1729 Bach became director of Leipzig’s Collegium Musicum, a society of professional and amateur musicians founded by Georg Philipp Telemann in 1704. The society gave weekly concerts— Wednesdays outdoors during the summer, Fridays at Gottfried Zimmermann’s coffee house during the winter months—that were serious, and entertaining, events open to the public. In addition to music by other contemporary composers, these concerts of course included works by Bach himself, among them the Coffee and Peasant cantatas, chamber music, and concertos. Many, even most, of these pieces were written expressly for performance by the Collegium. Much of this music, too, served pedagogic ends: Bach used them as training tools for his students, among them his own sons. Most of the group of harpsichord concertos for solo or multiple harpsichords with orchestral accompaniment

week 5 program notes 29

The exterior of Zimmermann’s coffeehouse in Leipzig

that Bach produced at this time are presumed to have been first performed by Bach and his sons in Collegium concerts.

Strange though it is to realize, the accompanied keyboard concerto as developed by Bach in the 1730s was virtually a new compositional genre. Vivaldi’s famous concertos were typically for solo or multiple “melody” instruments—violin, cello, mandolino, oboe, bassoon. As suggested above, the Fifth Brandenburg Concerto is considered the proto- type of the concerto for keyboard and ensemble, but Bach didn’t explore its possibilities during his first years in Leipzig except in a few cantata movements. After becoming director of the collegium, he returned to the idea, but most of these “new” concertos were in fact reworkings of earlier concertos—Vivaldi’s and his own—for melody instruments. The concerto for four harpsichords, BWV 1065, is a reworking of a piece by Vivaldi for four violins and orchestra, for example. The concertos for solo keyboard and accompaniment, BWV 1052–59, and those for multiple keyboards and accompaniment, BWV 1060–64, are evidently based on earlier solo concertos by Bach himself (excepting BWV 1061 for two keyboards and accompaniment, derived from a piece for two unac- companied keyboards).

Most of those earlier works, probably dating from Bach’s years in Weimar and Cöthen (1708–1721), are now lost; for some, their origin as works by Bach is still in question. (Also, Bach scholar Christian Wolff has suggested that in dating the concertos on limited evidence, scholars have been “rather generous” to this early period.) Bach’s process for transcribing the works to their new settings is fairly clear from comparisons between the handful of extant earlier concertos and manuscript copies of the Leipzig-era keyboard concertos. He first wrote out the original solo part verbatim, then made changes, some of them extensive, to make it work for the harpsichord, including filling in the left-hand parts. Sometimes transposition—raising or lowering the key—was necessary to accommodate the

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32 harpsichord’s range. In cases where no original version has been found, scholars use details of pitch range and melodic figuration to try to determine the original instrument. A very wide melodic range would suggest violin or cello, a narrower compass recorder or oboe. Modern musicologists have reverse-engineered convincing, performable versions of presumed source works; Wilfried Fischer’s reconstructions (with an “R” appending the BWV number, e.g., BWV 1052R) were included as part of the New Bach Edition, the most complete representation of the composer’s catalog.

Opinion is divided about the origin of the F minor keyboard concerto, BWV 1056. The accompanied oboe solo movement from Cantata 156 mentioned above has led to the supposition that the entire concerto was for oboe solo, while some scholars have suggested that the first and third movements came from different concertos altogether; a further possibility is that the original was a violin concerto. A further interesting detail is that the first two measures of a c.1716 G major flute/oboe concerto (TWV 51:G2) by Bach’s friend Telemann, the leading German composer of the day, are identical (except for key) to the first two bars of the Largo middle movement of the F minor concerto. Did Bach write a movement of the now-lost original concerto around the same time that Telemann wrote his? We don’t know; we do know this is just one of many instances of musical sharing between the two composers.

The F minor concerto is in three short movements: fast (no tempo marking), slow (marked Largo in one version, Adagio in another), fast (Presto). The opening movement features a thematic idea shared by the piano and orchestra; by itself, the piano “echoes” the end of each phrase. To the relatively square, two-beat theme are contrasted the expansive, triplet-based solo excursions. The slow middle movement in A-flat major is justly famous for its singing, ornamented melody and its expressive excursions into minor keys. Ensemble accompaniment is sparse. The Presto finale, in 3/8 meter, features a rising theme with a syncopated detail throwing the meter off balance. The second half of the theme, predominantly falling, inverts and balances the first half, and the violins’ phrase-ending echoes complement the soloist’s in the first movement.

Robert Kirzinger

Composer/annotator robert kirzinger is Associate Director of Program Publications of the Boston Symphony Orchestra.

THE FIRST BSO PERFORMANCE OF BACH’S F MINOR KEYBOARD CONCERTO took place on January 2, 1918; Ruth Deyo was solo pianist, and Karl Muck conducted. Since then, the only other complete BSO performances were at Tanglewood: Alexander Borovsky under Serge Koussevitzky for a 1945 “Bach/Mozart” Festival; Lukas Foss under Charles Munch in 1959; Seymour Lipkin with Munch in 1960; and Foss again as both soloist and conductor in July 1990. The most recent Tanglewood performance was given by Angela Hewitt with the Australian Chamber Orchestra and Richard Tognetti in August 2005 in Ozawa Hall.

week 5 program notes 33 BUILDING SPACES THAT CREATE HARMONY

Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. Ludwig van Beethoven Piano Concerto No. 1 in C, Opus 15

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. According to The New Grove Dictionary of Music and Musicians, he composed his C major concerto in 1795 and gave the first performance on December 18 that year in Vienna; but earlier sources hold that the concerto was written probably in 1796-97, completed in 1798, and premiered during Beethoven’s visit that year to Prague. He evidently revised the score somewhat before its publication in 1801. Beethoven himself wrote three different cadenzas for the first movement at a later date, presumably after 1804, judging by the keyboard range required.

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Beethoven’s career was intimately bound up with the keyboard, from his teens as an organist and budding virtuoso to his years as a composer/pianist in Vienna, and even beyond that, after encroaching deafness put an end to his performing. In later years, almost stone-deaf, Beethoven still played alone and sometimes for friends, extemporizing brilliantly as in the old days, when by then he could not hear a note he played. His fingers could still find the music in his inner ear.

So pervasive was the piano to Beethoven that we have to remind ourselves that he was part of the first generation to grow up playing the instrument, which had only recently replaced the harpsichord and was evolving rapidly. Haydn and Mozart came up playing the harpsichord and only later arrived at the piano. As musicians tend to be, Beethoven was critical of the competition. “Putsch, putsch, putsch,” he said of the flashy new virtu- osos, “and what does it all mean? Nothing!” He heard Mozart perform, he said, and the man was a harpsichordist. He didn’t know how to play the piano: no legato, no singing style. Part of his implication was that Mozart didn’t really know how to write for the piano either.

week 5 program notes 35 Program page for the first Boston Symphony Orchestra performance of Beethoven’s Piano Concerto No. 1 on December 12, 1895, in Cambridge, with Emil Paur conducting and soloist Marie Geselschap (BSO Archives)

36 On one hand this is familiar musicianly complaining about the rivals. On the other hand, in his terms, Beethoven was right. From the beginning the piano was his frame of refer- ence, and for a long time performing was the better part of his income. The consummate professional, he paid minute attention to finding new and idiomatic ways of playing and composing for the piano. Meanwhile he was an adviser to piano manufacturers, who listened to what he said. Mostly what he told them was, Make your pianos bigger and stronger. His music said the same thing. As soon as an instrument appeared with higher notes he used them, and the force of his conceptions demanded louder and richer instruments. Érard in Paris and Broadwood in England sent him pianos, hoping he would be pleased and endorse them.

In other words, as performer as well as composer, Beethoven looms large in the development of the modern instrument, in its playing and composing technique, and in its design. All that, in turn, is another symptom of the Beethoven approach to everything musical: a solid grounding in technique and tradition, but no less a relentless pushing of envelopes.

If you were a virtuoso in Beethoven’s day, a prime bread-and-butter medium was the concerto, and to his programs Beethoven often added solo improvisations. He was cele- brated for the power and velocity of his playing, the brilliance of his ornaments including triple trills, but above all for the fire and imagination of his extemporizing. Years before his music started to define the rising Romantic temperament, that wild and passionate spirit was prophesied in the music that flowed directly from his mind to his fingers.

Thus while the hoary division of Beethoven’s work into Early, Middle, and Late periods persists, one of the many caveats to that pattern is that when it came to his own instrument the piano, the Middle started early: the authentic Beethoven voice appears first in works including the piano sonatas and piano trios. It was in the last years of the 18th century, when he was composing the startling and prophetic piano trios of Opus 1, that he wrote the C major concerto with one foot in the past and the other in the future.

Even then Beethoven was often ill, but otherwise his life in those years was quite pleas- ant. He was a hot young virtuoso and composer playing in the best salons, and had not yet been forced to confront the specter of deafness. In the pattern familiar to Mozart and most composer/performers, as a soloist Beethoven needed to have a fresh concerto in his repertoire, written to strut his particular stuff. For that reason he didn’t publish his early piano concertos right away; they were for his own use, and he tinkered with them from performance to performance. When one concerto had lost its novelty he wrote another, and only then published the old one.

The Piano Concerto No. 1 in C was written after the Second in B-flat, and thus numbered because the C major was published first. The B-flat major concerto had a long and ram- bling gestation, starting in Bonn before he came to Vienna. In that period Beethoven was preoccupied with polishing his craft, mastering one genre after another. With one concerto already under his belt, however, he pulled together the C major in a relatively

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For more information, contact John Morey at 617-292-6799 or [email protected] Announcement (in Italian) for a Vienna concert on January 8, 1796, in which—as listed halfway down— “Signor Beethoven will play a piano concerto” (which was likely his own B-flat piano concerto known to us as his No. 2)

short time, probably in 1795. That year a visitor to his flat found Beethoven, miserable with colic, with four copyists stationed in the hall, writing the finale two days before the premiere. The final version of the concerto is a score from 1800. Shortly after, Beethoven declared that he was unsatisfied with everything he’d written and intended to make a new beginning. Soon followed the epochal Symphony No. 3, Eroica.

If the opening of the C major concerto shouts some, it does not entirely shout Beethoven. It’s a military march, a fashionable mode in concertos of the time. The music begins softly, at a distance, in a stately dah, dit-dit dah figure; with aforte the parade is upon us. The martial first theme is followed by a lyrically contrasting second; the gesture is expected, the music attractive but impersonal. But the key is Beethovenian: a more highly spiced E-flat for a second key rather than the conventional G, a kind of harmonic move that will become a lifelong Beethoven thumbprint. The soloist enters not on the main theme but with something new—lyrical, quiet, and inward, which alerts us that the agenda of the soloist and the orchestra are not quite the same. In fact, for all the flamboyant passagework, the soloist never plays the martial main theme. The essential voice of the soloist breaks out above all in the middle, at the onset of the development: a suddenly rich and passionate, shrouded, almost minorish E-flat major section, in sound and import entirely Beethoven.

The first movement ends with a conventional martial fervor, and the second movement commences in A-flat major with a Largo version of the work’s opening rhythmic motto:

week 5 program notes 39 dah, dit-dit dah. But this movement picks up the mood of the middle of the first movement— atmospheric and introspective, gradually passionate. Again we hear that strangely shad- owed major. The main theme has a noble simplicity; the orchestral scoring is rich, warm, and touching; the piano garlands familiar from Classical slow movements are here not precious and galant so much as atmospheric and introspective. Here as elsewhere, the slow movement provides some of the most moving and fresh music in early Beethoven. In the searching coda there is a striking and soulful duet between piano and clarinet.

So where does this story lead us? A first movement in which the orchestra is militant and the soloist tending more to thoughtful and expressive. A second movement where the latter qualities take over. Then, fun and games.

40 All Beethoven’s concerto finales are rondos, and rondo finales were supposed to be light, rhythmical, quirky, with lots of teasing accompanying the periodic return of the rondo theme. Beethoven plays that game to the hilt, but pushes it: his rondo theme goes beyond merely folksy to a rumbustious, floor-shaking barn dance. For an added fillip, we’re not sure whether the main theme begins on an upbeat or a downbeat, so the metric sense gets amusingly jerked around. On its last appearance the rondo theme enters in the wrongest of wrong keys, B major, before getting chased back to the proper C major. The contrasting sections are largely given to brilliant virtuosity. The middle section features a jovial and jokey tune in A minor, perhaps to parallel the minorish major in the middle of the first movement.

For a telling last touch, just before the flashy last cadence there is a brief turn to lyrical and touching. That’s been the undercurrent all along of this concerto that on the surface purports to be militant and exuberant and more or less conventional, but also has an inner life prophetic of much Beethoven to come.

Jan Swafford jan swafford is a prizewinning composer and writer whose books include “Beethoven: Anguish and Triumph”; “Johannes Brahms: A Biography”; “The Vintage Guide to Classical Music,” and “Language of the Spirit: An Introduction to Classical Music.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

THE FIRST AMERICAN PERFORMANCE OF BEETHOVEN’S PIANO CONCERTO NO. 1 was given on March 19, 1857, by pianist Franz Werner with Frédéric Ritter and the Philharmonic Society at the Music Hall in Cincinnati. B.J. Lang was soloist in the first Boston performance on January 16, 1868, in a concert of the Harvard Musical Association, Carl Zerrahn conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE CONCERTO was a single performance led by Emil Paur in Cambridge on December 12, 1895, with pianist Marie Geselschap, after which the BSO did not play the work again until February 15, 1932, with Serge Koussevitzky conducting and soloist Robert Goldsand. Subsequent Boston Symphony performances have featured Shirley Bagley (Koussevitzky conducting), Leonard Bernstein (conducting from the keyboard), Ania Dorfman and Sviatoslav Richter (Charles Munch), Claude Frank (Erich Leinsdorf and, later, Stanislaw Skrowaczewski), Rudolf Serkin and Jerome Lowenthal (Max Rudolf), Christoph Eschenbach (Seiji Ozawa), Misha Dichter (Michael Tilson Thomas), Emanuel Ax (Edo de Waart), Malcolm Frager (Klaus Tennstedt), Serkin again (Ozawa), Justus Frantz (Eschenbach), Eschenbach again (doubling as soloist and conductor), Alfred Brendel (Hiroshi Wakasugi and, on several later occasions, Ozawa), Rudolf Firkušný (Jesús López-Cobos), Maria Tipo (Robert Spano), Radu Lupu (Mariss Jansons), Richard Goode (Ozawa), André Watts (Alan Gilbert), Murray Perahia (Bernard Haitink), Gianluca Cascioli (Roberto Abbado), Lars Vogt (Andrey Boreyko), Piotr Anderszewski (Robert Spano), Imogen Cooper (Gustavo Dudamel), Leif Ove Andsnes (David Zinman), Lang Lang (Charles Dutoit), Yefim Bronfman (Christoph von Dohnányi), Rudolf Buchbinder (the most recent subscription performances, with Andris Nelsons in November 2017), and Yuja Wang (the most recent Tanglewood performance, also with Nelsons, on July 15, 2018).

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JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. From sketches made in spring 1873 or perhaps late 1872, he composed these variations originally for two pianos, in the form now known as Opus 56b, in May, June, and early July 1873. The first hint of the orchestral version came in a letter of September 4, 1873, to his publisher, Fritz Simrock, from whom he had also requested a supply of orchestra manuscript paper on September 1. The idea of orchestrating the variations perhaps occurred to him only after trying out the two- piano version with Clara Schumann on August 20 in Bonn. In any event, Brahms sent Simrock the orchestral score on October 4, with a letter that attaches Haydn’s name to the work for the first time; previously Brahms had referred to the piece as “Variations for two pianofortes” and “Variations for orchestra.” Brahms himself led the first performance on November 2, 1873, at a Vienna Phil- harmonic concert. The earliest documented public performance of the two-piano version was one given by Hans von Bülow and Charles Hallé in Manchester, England, on February 12, 1874.

BRAHMS’S “HAYDN” VARIATIONS IN ITS ORCHESTRAL FORM calls for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, timpani, triangle, and strings.

As few of his works do, the twenty minutes of Brahms’s Variations on a Theme by Joseph Haydn reveal the far-ranging richness of his art and the contradictions within his work and his temperament: the mastery and the insecurity, the conservatism and the innovation, the patience and the boldness. They also exemplify his way of sounding the depths of tradition within a singular personality.

As a craftsman, by his full maturity Brahms essentially had no weak suits. But he did have chronic uncertainties, and some of those turned around the orchestra. After his discovery by Robert Schumann at age twenty and the largely unearned fame that followed, Brahms set out on the kind of ambitious orchestral projects that Schumann had prophesied for him. Within days of Schumann’s breakdown that landed him for the rest of his days in an asylum, Brahms drafted a massive two-piano sonata that bogged down; he tried without

week 5 program notes 43 Program page from the first Boston Symphony performance of Brahms’s Variations on a Theme by Haydn on December 6, 1884, with Wilhelm Gericke conducting (BSO Archives)

44 success to turn it into a symphony, then detached the first movement and made it into the opening of what became the Piano Concerto No. 1. That concerto consumed years of his life, partly because he was struggling with the orchestra, a medium he found daunting at the time, and with which to some degree he ultimately remained insecure.

It took Brahms years to recover from Schumann’s prophecy and find his feet again as a creator. Given his personality and his abject worship of the past, it was inevitable that his creative path was going to be within the forms and genres of the past—piano sonata, string quartet, piano trio and quartet, symphony, theme and variations, and the like, all of which Richard Wagner and his followers had declared to be dead and buried. Franz Liszt wrote that Brahms represented “the posthumous school” of composition.

It was in that context of a growing divide between one group of composers looking backward for inspiration, and those around Wagner declaring themselves “the music of the future,” that Brahms began patiently to master the old musical genres, one by one: piano trio, piano variations, and so on. The genre he avoided for decades was the symphony. Beyond that, for years his output for the orchestra was slim—there were no independent pieces between the two orchestral serenades (in D major and A major) of 1858-59 and the Haydn Variations of 1873.

From early on, Brahms had a unique voice. His harmonies and melodies were in their way conservative, placed within traditional forms, but they were still unmistakable. Nobody was more systematically eclectic than Brahms, yet nobody ever had a more distinctive stylistic signature, and he had it from early on. The exception to that pattern was his handling of the orchestra. From the beginning he was in the habit of consulting with friends who had more experience with scoring. With the early orchestral works including the First Piano Concerto, that friend was the violinist and composer Joseph Joachim.

Famously, Brahms carried his first symphony on his back for over fifteen years before finishing it. Part of the reason was fear: he knew it was going to be compared with

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www.nextstephc.com Another view of Brahms, beardless, shown here in his thirties

Beethoven, and that haunted him. He also refused to finish a symphony before his handling of the orchestra was as distinctive as everything else in his style.

The Haydn Variations began with a bit of serendipity. In 1870 a friend showed him a jaunty little piece attributed to Haydn called “Chorale St. Antoni,” scored for pairs of oboes and horns, three bassoons, and the archaic serpent. It had an interesting quirk: in defiance of the regular four-bar phrasing of the Classical period, this piece began with two five-bar phrases. The piece struck him as a good subject for variations, but beyond that he came to conceive it as an independent set of variations for orchestra—something that had essentially never been done before. Here we find Brahms’s mingled conservatism and innovation, and how they worked together. Experts later decided that the piece was not in fact by Haydn, but that is neither here nor there. For Brahms the presence of Haydn was not just practical, it was talismanic, a connection to the giants of the past whose threatening footsteps he always heard around him.

He began cautiously by drafting the variations for two pianos, published as Opus 56b, but by the time the piano version was done the goal was the orchestra. With the music essentially composed, there remained the final hurdle of shaping his orchestral voice, a step he needed to take before he could go on to finish not only the Variations but his First Symphony. Whether consciously or not, the Haydn Variations became his bridge to the symphony. He had become close to the conductor Hermann Levi, who became his new orchestral adviser. In spring 1873 he began visiting Levi in Munich for reasons sociable and practical.

What he ended up with in the Haydn Variations was a piece that was at once unique and utterly bound up in tradition, a set of character variations whose styles at various times conjure up Baroque, Classical, and Romantic voices, climaxing on a passacaglia unmistak- ably recalling Bach. Meanwhile it was an ideal scoring study for him: the ten movements— the theme, eight variations, and finale—required ten distinct orchestral environments.

week 5 program notes 47 48 The theme begins largely in the winds, close to the original wind chorale, the contrabassoon filling in for the extinct serpent. That high-Classical wind sound will be a kind of covert presence throughout the piece, and for that matter a lingering spirit in Brahms’s orchestral voice from now on. In the flowing first variation, we hear for the first time the mature Brahms orchestral sound: rich octaves in the strings, rippling string figuration, massive tuttis with full winds and brass. That striking change of timbral effect from the theme to the first variation is a leap from the 18th into the 19th century, and from history into himself. We hear history happening before our ears. Brahms has arrived, finally, as a master composer for the orchestra.

By “character variations” we mean a work in which each segment conjures up a particular kind of traditional piece. In all styles of variations going back through Beethoven and Haydn and Bach, the essential idea is to take a bit of material, the theme, and transform its elements into contrasting segments of music which at the same time form an overall shape and direction. In the Haydn Variations the constants are the bass line of the original theme, and other bits and pieces of it, including its eccentric phrasing and its stern repeated notes—which can also be ironic repeated notes. In the third variation, which moves from lush full scoring to instruments used delicately and soloistically, we hear for the first time the Brahmsian thumbprint of integrating chamber-like effects within orchestral music. The liquidly expressive variation IV is contrasted by the vivace scherzo of the next variation. Then comes a stretch of robust hunting horns followed by a delicious lyrical siciliana.

The finale is laid out, once again, in an archaic form, apassacaglia , meaning variations over a repeated bass figure. It builds slowly to a grand finish that for a moment digresses into a magical music-box moment glittering with piccolo and triangle. This movement profoundly based on tradition is at the same time the most original in the piece, the first set of variations to conclude with a “ground-bass” movement. There in a nutshell you have Brahms, who in looking backward for his inspiration remained ultimately true to himself, and in that way again and again inspired the future.

Jan Swafford

THE FIRST AMERICAN PERFORMANCE of Brahms’s “Haydn” Variations in its version for orchestra was likely the one given by Theodore Thomas and his orchestra in Boston on January 31, 1874.

THE FIRST BOSTON SYMPHONY PERFORMANCE of the “Haydn” Variations was on December 6, 1884, with Wilhelm Gericke conducting, subsequent BSO performances being given by Arthur Nikisch, Emil Paur, Willy Hess, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Eugene Ormandy, Aaron Copland, Seiji Ozawa, Mstislav Rostropovich, Kurt Masur, Edo de Waart, Dennis Russell Davies, Bernard Haitink, Christof Perick, André Previn, Daniele Gatti, Andrey Boreyko (the most recent Tanglewood performance, on August 21, 2004), Christoph von Dohnányi, and Andris Nelsons (the most recent subscription performances, in January 2015).

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Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick Béla Bartók “Dance Suite”

BÉLA BARTÓK was born in Nagyszentmiklos, Transylvania (then part of Hungary, now Sînnicolau Mare, Romania), on March 25, 1881, and died in New York on September 26, 1945. He began the “Dance Suite” in Budapest in April 1923 and completed it in Radvány that August. The first performance took place on November 19, 1923, in Budapest, with Ernö Dohnányi conducting the Philharmonic Society Orchestra.

THE SCORE OF THE “DANCE SUITE” calls for two flutes, two piccolos, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, two trombones, tuba, celesta, harp, piano, timpani, two kinds of side drum, bass drum, cymbals, tam-tam, triangle, chimes, and strings.

Bartók was already in his forties when he received his first commission for a composition. (All his earlier work had been composed “on spec,” in the hope that someone would perform it.) The commission came from the Budapest City Council for three works— one from each of the leading Hungarian composers of the day (Zoltán Kodály and Ernö Dohnányi were the other two), to write a piece in celebration of the fiftieth anniversary of the unification of the cities of Buda and Pest, facing one another on opposite banks of the Danube, into the metropolis of Budapest. At the celebratory concert it was Kodály’s Psalmus Hungaricus that was the great hit; Bartók’s piece did not go well (he blamed lack of sufficient rehearsal time). But at a performance in Prague a year later under Václav Talich, the audience demanded—and got—an immediate encore.

Bartók was a pioneering ethnomusicologist, and folk music, especially that of Hungary, was a constant influence on his own compositions throughout his life. In theDance Suite, he took considerable pains to write music that might appeal to the general public, devis- ing the work as a collection of dance-type movements in the styles of many the areas where he had collected folk music, though without ever actually quoting folk tunes, but instead creating musical gestures in the various folk styles. The work is constructed in

week 5 program notes 51 Program page for the first Boston Symphony Orchestra performances—the BSO’s first of any music by Bartók—of Bartók’s “Dance Suite” on November 12 and 13, 1926, with Serge Koussevitzky conducting (BSO Archives)

52 six sections played without pause. A ritornello passage, heard initially at the end of the first movement, recurs at the end of the second and fourth movements as well as within the finale.

Bartók identified the first section as Arabic in character, and it also shows some melodic links to his ballet The Miraculous Mandarin, which he had begun much earlier but did not complete in its final version until after finishing theDance Suite. The ritornello is pastoral in sound with its dreamy, muted violins and later the clarinet. Bartók described the vigorous second section as Hungarian; it is dominated by the interval of the minor third, which shows up particularly in sliding trombones, a sound that immediately recalls the Mandarin. A harp glissando brings in the clarinet for the ritornello again.

The third dance, a rondo introduced by the bassoon, is one that Bartók thought of as the alternation of “Hungarian, Rumanian, and even Arabic influences,” an Allegro vivace movement that suggests bagpipe drones (the bagpipe is a nearly universal folk instrument, by no means restricted to Scotland). Next comes a mysterious night scene of Arabic character, with unison woodwinds sounding the exotic melody and muted string sounds creating the atmospheric effect. The fifth section is short, mostly an assertion of a rhythmic idea. This idea, at a much faster tempo, also begins the finale. This is the most elaborate movement, including quotations from most of the earlier sections of the work, and ending in the high spirits entirely suitable to the celebratory purpose for which it was written.

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

THE FIRST AMERICAN PERFORMANCES OF BARTÓK’s “DANCE SUITE” were given by the Cincinnati Symphony Orchestra with Fritz Reiner conducting on April 3 and 4, 1925.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF THE “DANCE SUITE”—the BSO’s first of any music by Bartók—were conducted by Serge Koussevitzky on November 12 and 13, 1926, subsequent BSO performances being led by Ferenc Fricsay, David Zinman, Kazuhiro Koizumi, Charles Dutoit (the most recent Tanglewood performance, on August 22, 1998), and Iván Fischer (the most recent subscription performances, in April 2003).

week 5 program notes 53 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. The ensemble’s four-concert series takes place on Sunday afternoons at New England Conservatory’s Jordan Hall. A highlight of the 2019–20 season will be the world premiere in April of Michael Gandolfi’s BSO- commissioned new work for voices and ensemble. Single Tickets: $38, $29, $22 Please note that on the day of the concert, tickets may only be purchased at Jordan Hall. Subscription tickets for the 4-concert series are still available at $132, $95, and $75. sunday, october 20, 3pm sunday, march 22, 3pm with Paolo Bordignon, harpsichord with Randall Hodgkinson, piano STRAVINSKY Octet for winds Kevin PUTS Seven Seascapes, for flute, horn, violin, THOMSON Sonata da Chiesa, for clarinet, horn, viola, cello, double bass, and piano trumpet, trombone, and viola Eric NATHAN Why Old Places Matter, for oboe, horn, CARTER Sonata for flute, oboe, cello, and and piano harpsichord SMYTH Variations on “Bonny Sweet Robin” Sofia GUBAIDULINA Etudes, for double bass (Ophelia’s Song), for flute, oboe, and piano FALLA Concerto for harpsichord, flute, oboe, MENDELSSOHN String Quintet No. 2 in B-flat, Op. 87 clarinet, violin, and cello sunday, april 26, 3pm sunday, january pm 19, 3 with John Brancy, baritone with David Deveau, piano J.S. BACH (arr. MOZART) Preludes and Fugues for SCHULHOFF Concertino for flute, viola, and double string trio bass Michael GANDOLFI Cantata (world premiere; György KURTÁG Selection from Signs, Games, and BSO commission) Messages, for two violins DAHL Allegro and Arioso, for wind quintet MARTINŮ Nonet for winds and strings BRITTEN Sinfonietta, Op. 1 REINECKE Trio in A minor for oboe, horn, and piano, Op. 188 BRAHMS Trio in A minor for clarinet, cello, and piano, Op. 114

For tickets, call 617-266-1200 or visit bso.org. To Read and Hear More...

The eminent Bach scholar and Harvard University professor Christoph Wolff’s Johann Sebastian Bach: The Learned Musician remains the best of many fine general biographies of the composer (Oxford University paperback). Other recent general biographies include Peter Williams’s large Bach: A Musical Biography (Cambridge University Press) and his J.S. Bach: A Life in Music, which takes the intriguing path of constructing a life of the composer using, as a jumping-off point, the famous 1754 obituary written by his son Carl Philip Emanuel Bach and J.S. Bach’s pupil, J.F. Agricola (Cambridge paperback). Johann Sebastian Bach: Life and Work by Martin Geck, a professor at the University of Dortmund, Germany, was translated by John Hargraves and published in the U.S. in 2006 (Harcourt). Conductor John Eliot Gardiner’s Bach: Music in the Castle of Heaven is a biography from a scholar/performer’s perspective, with some elements of a personal memoir (Vintage paperback). Christoph Wolff’s Bach: Essays on His Life and Music is an earlier collection of self-contained essays, tending toward greater specificity of subject (Harvard University Press). Of great general interest, and fun to peruse, is J.S. Bach in the Oxford Composer Companions series, which contains encyclopedia-like entries by dozens of scholars on hundreds of individual Bach-related topics. This was edited by Malcolm Boyd, who also wrote the general-interest biography Bach in the “Master Musicians” series (Oxford University Press). Also of broad appeal is The Cambridge Companion to Bach, edited by John Butt (Cambridge). The Worlds of Johann Sebastian Bach, edited by Raymond Erickson, is a collection of essays on the influence of context and environment on Bach’s music (Amadeus Press). The J.S. Bach essay in the 2001 New Grove Dictionary of Music and Musicians is by Christoph Wolff, somewhat but not radically changed from his essay in the 1980 Grove. The earlier essay, along with the essays on Bach’s musically significant family members, was reprinted in a separate volume, The New Grove Bach Family (Norton paperback). The New Bach Reader, edited by Arthur Mendel and Hans David and revised by Christoph Wolff, compiles a biographical picture of Bach via citations from letters and other period documents in English translation (Norton). For important older sources, Albert Schweitzer’s and Philip Spitta’s biographies are still available in reprint editions (both Dover paperback).

András Schiff recorded Bach’s solo keyboard concertos, including the F minor, on piano with the Chamber Orchestra of Europe, available in a four-disc box that also includes the solo Italian Concerto and, with Camerata Bern and pianists Peter Serkin and Bruno Canino, concertos for multiple pianos (Decca). Other piano recordings of the piece include Murray

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56 Perahia’s with the Academy of St. Martin in the Fields (Sony), Angela Hewitt’s with the Australian Chamber Orchestra and Richard Tognetti (Hyperion), and Glenn Gould’s with the Columbia Symphony Orchestra led by Vladimir Golschmann (Sony). Harpsi- chord recordings include Bob Van Asperen’s with Melante Amsterdam (Erato), Ton Koopman’s with the Amsterdam Baroque Orchestra (Elatus), Trevor Pinnock’s with the English Concert (Archiv), and Robert Levin’s with the Bach-Collegium Stuttgart and Helmuth Rilling (Hänssler Classic). Recordings of reconstructed versions for violin include those by Rachel Podger with Brecon Baroque (Channel Classics), Isabelle Faust with Helmuth Rilling and Bach-Collegium Stuttgart (Hänssler Classic), Alice Harnoncourt with the Vienna Concentus Musicus and Nikolaus Harnoncourt (Teldec), Thomas Zehetmair with the Amsterdam Bach Soloists (Berlin Classics), and Pinchas Zukerman with the English Chamber Orchestra (RCA). For the oboe concerto version, there are Gonzalo X. Ruiz with the Portland Baroque Orchestra (Avie), Christian Hommel with the Cologne Chamber Orchestra and Helmut Müller-Brühl (Naxos), and Ingo Goritzki with the Bach-Collegium Stuttgart and Helmuth Rilling. Among others, James Galway (RCA) and Jean-Pierre Rampal (Sony) both recorded the concerto on flute.

Robert Kirzinger

Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Full-scale modern biographies include Jan Swafford’s Beethoven: Anguish and Triumph; Maynard Solomon’s Beethoven (Schirmer paperback), and Barry Cooper’s Beethoven in the “Master Musicians” series (Oxford University Press). Noteworthy, too, are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback), Lewis Lockwood’s Beethoven: The Music and the Life (Norton paperback), and Robert Simpson’s chapter, “Beethoven and the Concerto,” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Michael Steinberg’s program notes on the Beethoven concertos are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on Beethoven’s concertos are among his Essays in Musical Analysis (also Oxford).

A performance by Sir András Schiff as soloist and conductor with the Capella Andrea Barca is available on DVD and Blu-ray (C Major). Schiff previously recorded all five Beethoven piano concertos with Bernard Haitink conducting the Dresden Staatskapelle (Teldec). The Boston Symphony Orchestra recorded the five Beethoven’s piano concertos in the 1980s with Rudolf Serkin under Seiji Ozawa’s direction (Telarc) and in the 1960s with Arthur Rubinstein under Erich Leinsdorf (RCA). Other noteworthy sets of the five concertos (listed alphabetically by soloist) include Leif Ove Andsnes’s as soloist and conductor with the Mahler Chamber Orchestra (Sony), Alfred Brendel’s live with James Levine and the Chicago Symphony Orchestra (Philips), Yefim Bronfman’s with David Zinman and the Tonhalle Orchestra of Zurich (Arte Nova), Leon Fleisher’s with George Szell and the Cleveland Orchestra (Sony), Paul Lewis’s with Jiˇrí Bˇelohlávek and

week 5 read and hear more 57 Never A Still Life

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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 the BBC Symphony Orchestra (Harmonia Mundi), Murray Perahia’s with Bernard Haitink and the Concertgebouw Orchestra of Amsterdam (Sony), and Mitsuko Uchida’s with Kurt Sanderling conducting the Bavarian Radio Symphony and the Royal Concertgebouw Orchestra of Amsterdam (Philips). Among historic issues, Artur Schnabel’s recordings from the 1930s with Malcolm Sargent conducting the London Philharmonic continue to hold a special place (various CD reissues).

Important books about Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the “Master Musicians” series (Schirmer); Michael Musgrave’s A Brahms Reader, which offers wide-ranging consideration of the composer’s life and work (Yale University Press); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronology of the composer’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (from 1905, but periodically available in reprint editions). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of his symphonies, concertos, serenades, Haydn

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week 5 read and hear more 59 GET LOST.

A service of WGBH

on-air • online • in the app | classicalwcrb.org Variations, and overtures (University of Washington paperback). The Haydn Variations in both its orchestral and two-piano versions received a volume of its own, including scores for both plus musical, critical, and historical analysis as edited by Donald M. McCorkle, in the Norton Critical Scores series (Norton paperback).

The Boston Symphony Orchestra recorded Brahms’s Variations on a Theme by Haydn in 1992 with Bernard Haitink conducting (Philips). Other recordings of varying vintage (among many) include George Szell’s with the Cleveland Orchestra (Sony), Marek Janowski’s with the Pittsburgh Symphony Orchestra (Pentatone), Christoph von Dohnányi’s with the Cleveland Orchestra (Warner Classics), and Iván Fischer’s with the Budapest Festival Orchestra (Channel Classics). Significant historic reissues include Arturo Toscanini’s with the NBC Symphony (RCA), New York Philharmonic (also RCA), and Philharmonia Orchestra (Testament), and a powerful 1951 broadcast with Wilhelm Furtwängler leading the North German Radio Symphony Orchestra (Music & Arts and Tahra). Among recordings of the two-piano version are those that pair Martha Argerich and Nelson Freire (Deutsche Grammophon), Argerich and Alexandre Rabinovitch (Teldec), Emanuel Ax and Yefim Bronfman (Sony), and Murray Perahia and Sir Georg Solti (Sony).

Paul Griffiths’sBartók in the Master Musicians series (Dent paperback) is a useful sup- plement to Halsey Stevens’s The Life and Music of Béla Bartók, which has long been the standard biography of the composer (Oxford paperback). Béla Bartók by Kenneth Chalmers is a volume in the lavishly illustrated series “20th-Century Composers” (Phaidon paperback). Three relatively recent books offer wide-ranging consideration of Bartók’s life, music, critical reception, and milieu: Bartók and his World, edited by Peter Laki (Princeton University Press); The Bartók Companion, edited by Malcolm Gillies (Amadeus paperback), and David E. Schneider’s Bartók, Hungary, and the Renewal of a Tradition: Case Studies in the Intersection of Modernity and Nationality (University of California Press). Agatha Fassett’s personal account of the composer’s last years has been reprinted as The Naked Face of Genius: Béla Bartók’s American Years (Dover paperback). Béla Bartók: His Life in Pictures and Documents by Ferenc Bónis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

Recordings of the Dance Suite include Marin Alsop’s with the Bournemouth Symphony Orchestra (Naxos), Pierre Boulez’s with the New York Philharmonic (Sony), Antal Dorá- ti’s with the Philharmonia Hungarica (Mercury Living Presence), Adám Fischer’s with the Hungarian State Symphony Orchestra (Nimbus), and Esa-Pekka Salonen’s with the Philharmonia Orchestra (Signum Classics).

Marc Mandel

week 5 read and hear more 61

Guest Artist

Sir András Schiff

Sir András Schiff is world-renowned as a pianist, conductor, pedagogue, and lecturer. Music critics and audiences alike continue to be inspired by the masterful and intellectual approach he brings to each masterpiece he performs. Born in Budapest, Hungary, in 1953, Sir András studied piano at the Liszt Ferenc Academy with Pál Kadosa, György Kurtág, and Ferenc Rados, and in London with George Malcom. Recitals and special cycles, including the complete works of Bach, Haydn, Beethoven, Schubert, and Bartók, constitute an important component of his work. Having collaborated with the world’s leading orchestras and conductors, he now focuses primarily on solo recitals, appearances doubling as both soloist and conductor, and exclusive conducting projects. During his fall 2019 tour of North America, Sir András conducts and plays with the Boston Symphony Orchestra and the Orchestre Symphonique de Montréal, pairing concertos by Bach, Beethoven, and Haydn with Brahms’s Variations on a Theme by Haydn and Bartók’s Dance Suite. He is joined by violinist Yuuko Shiokawa for an all-Mozart program opening New York’s 92nd Street Y season. Recitals in his spring 2020 tour include all-Beethoven programs in Chicago and at Carnegie Hall celebrating the composer’s 250th birthday, as well as performances throughout Canada and the United States. Mr. Schiff’s chamber orchestra, Cappella Andrea Barca, founded in 1999, encompasses international soloists, chamber musicians, and friends. Together they have appeared at Carnegie Hall, the Lucerne Festival, and the Salzburg Mozartwoche. Forthcoming projects include a tour of Asia and a cycle of Bach’s keyboard concertos in Europe. Sir András enjoys close relationships with the Chamber Orchestra of Europe, Budapest Festival Orchestra, and the Orchestra of the Age of Enlightenment. In 2018 he

week 5 guest artist 63 Proud to support the Boston Symphony Orchestra accepted the role of associate artist with the latter ensemble, complementing his interest in performing on period keyboard instruments. He has established a prolific discography and since 1997 has been an exclusive artist for ECM New Series and its producer, Manfred Eicher. Highlights have included the complete Beethoven piano sonatas recorded live in Zurich, solo recitals of Schubert, Schumann, and Janáˇcek, and J.S. Bach’s partitas, Goldberg Variations, and Well-Tempered Clavier. His most recent two-disc set of Schubert sonatas and impromptus was released in spring of 2019. Sir András continues to support new talent, primarily through his “Building Bridges” series, which gives performance opportunities to promising young artists. He also teaches at the Barenboim-Said and Kronberg academies and gives frequent lectures and master classes. His book, Music Comes from Silence, a compilation of essays and conversations with Martin Meyer, was published in 2017 by Bärenreiter and Henschel. Sir András Schiff’s many honors include the international Mozarteum Foundation’s Gold Medal (2012), Germany’s Great Cross of Merit with Star (2012), the Royal Philharmonic Society’s Gold Medal (2013), a knighthood for Services to Music (2014), and a doctorate from the Royal College of Music (2018). This week’s concerts mark Sir András Schiff’s first appearances with the BSO since 2008. He made his BSO debut at Tanglewood in July 1983 with Mozart’s Piano Concerto No. 9 in E-flat, K.271, followed by his subscription series debut in April 1988 with Mozart’s C minor piano concerto, K.491, subsequently returning to Tanglewood for Grieg’s Piano Concerto in 1985 and Mozart’s D minor piano concerto, K.466, in 1987, and to Boston for subscription performances of Bartók’s Piano Concerto No. 2 in February 1989; Beethoven’s Piano Concerto No. 4 in April 1999; and Bartók’s Piano Concerto No. 3 in March 2008, his most recent appearances with the orchestra.

Bo on Early Music Fe ival Sun, OctsOber 27, 2019 at 4pm | emmanuel church, boston s PaciFic BarOque Orchestra with Karina Gauvin, soprano Alexander Weimann, Music Director ruSSian White nightS: Opera arias from 18th-century St. petersburg Order tOday! www.BeMF.org | 617-661-1812

week 5 guest artist 65 WHERE EXCELLENCE LIVES

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The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 19KDS9_NE_8/19 The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918, Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2) seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme / The Lost & Foundation, Inc. • EMC Corporation five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins / The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow / The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol ‡ and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

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

week 5 the great benefactors 69 There’s nothing like a well-staged house.

Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com Administration

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

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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Operations Manager • Nick Squire, Recording Engineer • Christopher Thibdeau, Orchestra Management Office Administrator • Joel Watts, Assistant Audio and Recording Engineer boston pops

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

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 5 administration 71 COVERT ROMANCE POLITICS & POWER A MODERN CLASSIC NOV 13 - 17

EMERSON PARAMOUNT CENTER ROBERT J. ORCHARD STAGE #FTBLO | BLO.ORG/FELLOW-TRAVELERS

72 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Individual Giving Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Senior Individual Giving Officer • Gina Crotty, Individual Giving Officer • Hanna Danziger, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Individual Giving Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Individual Giving Officer • Emily Wivell, Assistant Manager of Planned Giving education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • Katherine Ludington, Tanglewood Venue Rental Manager • John Stanton, Venue and Events Manager facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian

week 5 administration 73 Covering world news to art news. Discover everything newsworthy at wbur.org. For the full spectrum arts and culture happening right here in our community, visit The ARTery at wbur.org/artery. human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Senior Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales Associate Manager • Eugene Ware, Associate Marketing Manager • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator strategy and governance

Emily Fritz-Endres, Assistant Director of Board Administration • Laura Sancken, Board Engagement Officer tanglewood learning institute

Emilio Gonzalez, TLI Program Manager tanglewood music center

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

week 5 administration 75 76 Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Susan Price Secretary, Beverly Pieper Co-Chairs, Boston Karen Brown • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Judy Levin Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Lynne Harding boston project leads 2019-20

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Deborah Slater • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry • Guide’s Guide, Audley H. Fuller and Marcia Smithen Cohen • Instrument Playground, Cassidy Roh • Mailings, Steve Butera • Membership Table/Hall Greeters, Andrew Royer • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Sue O’Neill • Tour Guides, Carol Brown

Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

“...fully committed, live music-making.”

-- The Boston Musical Intelligencer

Fall 2019 Sanders Theatre, Cambridge

Sun. Sep. 22 • 7:30 PM Sun. Oct. 20 • 7:30 PM Franz Joseph Haydn Clara Schumann Piano Trio in C major, Hob. XV:27 Piano Trio in G minor, Op. 17 Dimitri Shostakovich John Harbison Piano Quintet in G minor, Op. 57 Sonata for Viola and Piano (2018) Boston premiere Wolfgang A. Mozart Johannes Brahms Viola Quintet in C major, K. 515 Piano Quartet in A major, Op. 26 617.349.0086 • www.bostonchambermusic.org

week 5 administration 77 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG

Next Program…

Thursday, October 24, 8pm Friday, October 25, 1:30pm Saturday, October 26, 8pm

susanna mälkki conducting

fauré pavane

dieter amman “the piano concerto (‘gran toccata’)” (american premiere; bso co-commission) andreas haefliger, piano

{intermission}

messiaen “alleluia on the trumpet, alleluia on the cymbal” from “l’ascension”

debussy “la mer,” three symphonic sketches From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea

Finnish conductor Susanna Mälkki returns for a program of sensually colorful French music plus the American premiere of Swiss composer Dieter Ammann’s new work for piano and orchestra, written for the German-born Swiss pianist Andreas Haefliger. Boasting both jazz and modernist credentials, Ammann writes music of great spontaneity and verve. Debussy’s three-movement La Mer—which was given its American premiere by the BSO in 1907—is among the greatest of all French orchestral works, a musical depiction of the changing states of the sea over the course of a day. The program also includes two shorter works: Fauré’s stately, gorgeous, and familiar Pavane, as well as the third movement of Olivier Messiaen’s early orchestral work L’Ascension (1932), which already demonstrates the composer’s unique voice as well as his Debussy-influenced musical heritage.

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

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

Thursday ‘C’ October 24, 8-9:40 “LEIPZIG WEEK IN BOSTON” Friday ‘A’ October 25, 1:30-3:10 Thursday ‘D’ October 31, 8-10 Saturday ‘B’ October 26, 8-9:40 Saturday ‘B’ November 2, 8-10 SUSANNA MÄLKKI, conductor BOSTON SYMPHONY ORCHESTRA and ANDREAS HAEFLIGER, piano GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS, conductor FAURÉ Pavane OLIVIER LATRY, organ DIETER AMMANN The Piano Concerto (“Gran Toccata”) (American premiere; JOHN FERRILLO, oboe BSO co-commission) RICHARD SVOBODA, bassoon MESSIAEN “Alleluia on the trumpet, FRANK-MICHAEL ERBEN, violin alleluia on the cymbal” from CHRISTIAN GIGER, cello L’Ascension STRAUSS Festive Prelude, for organ and DEBUSSY La Mer orchestra HAYDN Sinfonia concertante in B-flat for oboe, bassoon, violin, and cello “LEIPZIG WEEK IN BOSTON” SCHOENBERG Verklärte Nacht Sunday, October 27, 3-4:50 SCRIABIN Poem of Ecstasy (Non-subscription; presented in association with the Celebrity Series of Boston)

GEWANDHAUSORCHESTER LEIPZIG “LEIPZIG WEEK IN BOSTON” ANDRIS NELSONS, conductor Friday, November 1 (Symphony Gala), 6-7:10 LEONIDAS KAVAKOS, violin BOSTON SYMPHONY ORCHESTRA and GAUTIER CAPUÇON, cello GEWANDHAUSORCHESTER LEIPZIG BRAHMS Double Concerto for violin ANDRIS NELSONS, conductor and cello OLIVIER LATRY, organ SCHUBERT Symphony in C, The Great JOHN FERRILLO, oboe RICHARD SVOBODA, bassoon FRANK-MICHAEL ERBEN, violin “LEIPZIG WEEK IN BOSTON” CHRISTIAN GIGER, cello Tuesday ‘B’ October 29, 8-9:55 STRAUSS Festive Prelude, for organ and GEWANDHAUSORCHESTER LEIPZIG orchestra ANDRIS NELSONS, conductor HAYDN Sinfonia concertante in B-flat for GAUTIER CAPUÇON, cello oboe, bassoon, violin, and cello SCRIABIN Poem of Ecstasy MAHLER Blumine SCHUMANN Cello Concerto WAGNER Overture to The Flying Dutchman MENDELSSOHN Symphony No. 3, Scottish

The BSO’s 2019-20 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

week 5 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Events Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To Purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4 p.m. on Saturday). Outside the 617 area code, phone (888) 266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call the Group Sales Office at (800) 933-4255 or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large-print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the

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

week 5 symphony hall information 83 concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.