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2011-2012 SEASON Week T2
Season Sponsor: Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate Hermes, contemporary artisan since 1837.
HERMES PARIS
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Hermes.corr Table of Contents I Week 12
9 BSO NEWS
15 ON DISPLAY IN SYMPHONY HALL
16 THE BOSTON SYMPHONY ORCHESTRA
19 "THE GREAT STRAUSS TONE POEMS: A COMPOSER'S JOURNEY THROUGH YOUNG MANHOOD” BY PAUL THOMASON
27 THIS WEEK'S PROGRAM
Notes on the Program
28 The Program in Brief
29 Carl Maria von Weber 35 Ludwig van Beethoven 44 John Harbison 53 Richard Strauss 59 To Read and Hear More...
Guest Artists
65 David Zinman 67 Leif Ove Andsnes 68 Paula Murrihy
70 SPONSORS AND DONORS
80 FUTURE PROGRAMS
82 SYMPHONY HALL EXIT PLAN
83 SYMPHONY HALL INFORMATION
THE FRIDAY PREVIEW TALK ON JANUARY 13 IS GIVEN BY
BSO ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS
ROBERT KIRZINGER.
program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo by Stu Rosner
BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org It takes a dedicated craftsman to create a flawless instrument.
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INVESTMENT MANAGEMENT I TRUST SERVICES I ESTATE AND FINANCIAL PLANNING I FAMILY OFFICE SERVICES I ESTATE SETTLEMEN BERNARD HAITINK, LACROIX FAMILY FUND CONDUCTOR EMERITUS, ENDOWED IN PERPETUITY SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
131st season, 2011-2012
TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.
Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O'Block, Vice-Chairman • Roger T. Servison, Vice-Chairman Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer
William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick ■ Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters
LIFE TRUSTEES Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman ■ Peter A. Brooke • Helene R. Cahners • James F. Cleary • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Bela T. Kalman ■ George Krupp • Mrs. Henrietta N. Meyer Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb^ . peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. ■ John L. Thorndike • Dr. Nicholas T. Zervas t Deceased
OTHER OFFICERS OF THE CORPORATION Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board
BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.
Susan Bredhoff Cohen, Co-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty ■ Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper ■ James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens ■ Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • Robert Kleinberg • John L. Klinck, Jr. • Faria H. Krentzman • Peter E. Lacaillade •
WEEK 12 TRUSTEES AND OVERSEERS 3 f y j
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Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield ■ Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra 0. Moose • Robert J. Morrissey ■ J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O'Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Piantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug
OVERSEERS EMERITI
Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Braganca • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin ■ Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon ■ Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft ■ Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.
WEEK 12 TRUSTEES AND OVERSEERS EVERY CLOUD HAS A SILVER LINING
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EMC IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA EMC2 where information lives
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Register now. Spring classes begin January 23.
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i HARVARD UNIVERSITY EXTENSION SCHOOL
Harvard University Extension School is proud to support the Boston Symphony Orchestra. andjhe NUDE October 9, 2011—February 5, 2012
Museum of Fine Arts Boston mfa.org thenewTi
The exhibition is organized by the Museum of Fine Arts, Boston, and the Musee d’Orsay, Paris. Bank of America Presentation of the exhibition in Boston is made possible by Bank of America. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. BSO News
Boston Symphony Chamber Players Sunday, January 22, at 3 p.m. at Jordan Hall
The Boston Symphony Chamber Players perform the second Sunday-afternoon concert of their 2011-12 series in Jordan Hail at the New England Conservatory on Sunday, January 22, at 3 p.m. The program of serenades includes Mozart's Serenade No. 12 in C minor for winds, K.388; Beethoven's Serenade in D for flute, violin, and viola, Opus 25, and Brahms's Serenade No. 1 in D for winds and strings (arr. Rotter). Single tickets are $37, $28, and $21, available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.
Upcoming “BSO ioi” Sessions—Wednesday, January 18, and Tuesday, February 7, 5:30-6:45 p.m. at Symphony Hall
BSO 101 is a free adult education series at Symphony Hall that offers informative sessions about upcoming BSO programming and behind-the-scenes activities. Free to all interested, the sessions take place on selected Tuesdays and Wednesdays from 5:30-6:45 p.m., fol¬ lowed by a reception offering food, beverages, and time to share your thoughts with others. The next "BSO 101-Are You Listening?" session is scheduled for Wednesday, January 18 ("What Makes a Symphony?"), with BSO Director of Program Publications Marc Mandel, assistant principal viola Cathy Basrak, and percussionist Daniel Bauch. The next "BSO 101- An Insider's View" session is scheduled for Tuesday, February 7; the topic is "Auditioning for the BSO," with Orchestra Personnel Manager Lynn Larsen, who will not only discuss the audition process but also oversee a mock audition. Since each session of BSO 101 is self-contained, attendance at any of the previous sessions is unnecessary; and though the sessions are free, we do ask that you email [email protected] to reserve your place for the date or dates you're planning to attend.
Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street
New this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved at tickets.neu.edu or by calling
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EricksonLiving.com (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next concert in this series is scheduled for Friday, January 27 (Dvorak's String Quintet in G, Opus 77, and Schroeder's String Trio in E minor, Opus 14, No. 1), with further concerts scheduled for February 24, March 16, and April 13. These concerts are made possible in part by a generous grant from the Lowell Institute.
Friday Previews and Open Rehearsal Talks
The Boston Symphony Orchestra offers Friday Preview talks in Symphony Hall from 12:15- 12:45 p.m. prior to all of the BSO's Friday-afternoon subscription concerts throughout the season. Open Rehearsal Talks take place from 9:30-10 a.m. before the BSO's Thursday- morning Open Rehearsals, and from 6:30-7 p.m. before the BSO's Wednesday-evening Open Rehearsals. Free to ticket holders, and given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. This week's Friday Preview (January 13) is given by Robert Kirzinger.
INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2011-2012 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.
The Theresa M. and Charles F. Institute of Technology, where she was Exec¬ Stone III Concert, Saturday, utive Vice-President and Treasurer. Prior to January 14, 2012 joining MIT in these capacities, she was a member of the MIT Corporation and Exec¬ The Saturday-night concert is supported by utive Committee and chaired the board of the a generous gift from BSO Trustee Theresa M. MIT Investment Management Company. She Stone and Charles F. Stone III. Soon after is a Director of Progress Energy Corporation returning to Boston in 2007, Terry and Rick and will become a member of the board of attended several concerts of the BSO at Duke Energy Corporation following the merg¬ Symphony Hall and at Tanglewood, became er of Duke and Progress. BSO subscribers the following year, and have generously supported the Symphony Annual Terry and Rick are active on a number of not- Fund since then, currently as members of the for-profit cultural and education boards. Higginson Society. They have also supported Terry is a Trustee of the Museum of Fine Arts Opening Night at Symphony and Opening Boston and of Historic New England. Rick is Night at Tanglewood. Terry was elected to a longstanding board member of the Paul the BSO Board of Overseers in 2009 and the Taylor Dance Company in New York and the MacDowell Colony in Peterborough, New Board of Trustees in 2010. She is an active Hampshire. He recently chaired the Foun¬ member of the board, serving on both the dation Board of the North Carolina School of Investment and the Budget committees. Science and Mathematics in Durham, North Terry grew up in Boston, attended Girls' Latin Carolina. Rick is also a member of the Council School and was a member of the Greater for the Arts at MIT, an Overseer at the Isabella Boston Youth Symphony Orchestra in its Stewart Gardner Museum, and a board mem¬ founding year. Having admired the Boston ber of Emmanuel Music. Symphony since childhood, she feels privi¬ Both Terry and Rick earned Master's in Man¬ leged to serve as one of its Trustees. Terry agement degrees from the MIT Sloan School recently retired from the Massachusetts
WEEK 12 BSO NEWS 11 of Management and held various positions Friday-afternoon Bus Service to in finance and corporate management. Rick Symphony Hall grew up in Atlanta and attended Princeton; If you're tired of fighting traffic and search¬ Terry attended Wellesley. Their son, Charlie, ing for a parking space when you come to attends Harvard Business School. Friday-afternoon Boston Symphony concerts, why not consider taking the bus from your BSO Business Partner of the Month community directly to Symphony Hall? The Boston Symphony Orchestra is pleased to Did you know that there are more than 400 continue offering round-trip bus service on businesses and corporations that support the Friday afternoons at cost from the following Boston Symphony Orchestra, Inc.? You can communities: Beverly, Canton, Cape Cod, lend your support to the BSO by supporting Concord, Framingham, Marblehead/Swamp- the companies who support us. Each month, scott, Wellesley, Weston, the South Shore, we will spotlight one of our corporate sup¬ and Worcester in Massachusetts; Nashua, porters as the BSO Business Partner of the New Hampshire; and Rhode Island. Taking Month. This month's partner is Blake & Blake advantage of your area's bus service not only Genealogists. As one of the oldest and most helps keep this convenient service operating, respected probate research firms in the but also provides opportunities to spend industry, Blake & Blake Genealogists brings time with your Symphony friends, meet new you many advantages over other firms for people, and conserve energy. If you would conducting missing heir searches. Blake & like further information about bus transporta¬ Blake has assisted estate attorneys, trust offi¬ tion to Friday-afternoon Boston Symphony cers, executors, and judges responsible for concerts, please call the Subscription Office probate research and missing heir/beneficia¬ at (617) 266-7575. ry searches for three generations since 1929. Blake & Blake Genealogists has proudly sup¬ ported the Boston Symphony Orchestra as a Go Behind the Scenes: BSO Business Partner for twenty-five years. Symphony Hall Tours For more information about becoming a BSO Get a rare opportunity to go behind the scenes Business Partner, contact Rich Mahoney, at Symphony Hall with a free, guided tour Director of Boston Business Partners at (617) offered by the Boston Symphony Association 638-9277 or at [email protected]. of Volunteers. Throughout Symphony season,
Located steps from Symphony ‘Hall, our seniors Have everything they need to enjoy a lieafthy, active and independent lifestyle: & SUSAN (Personal care assistance BAILIS ‘Medication men itorincj ASSISTED LIVING Three deficious meals O-Couseheejpim] and laundry 352 Massachusetts Ave. at St. Botolph St. Social and cultural enriefiment Boston, MA 02115 Caff‘Maria to fearn more about 617-247-1010 fife at Susan (Bailis ‘Assisted Living. www.susanbailis.com
12 experienced volunteer guides discuss the his¬ BSO associate concertmaster Tamara Smirn¬ tory and traditions of the BSO and its world- ova is participating in the New England famous home, historic Symphony Hall, while Conservatory 2012 Composers Anniversary they lead participants through public and extravaganza at NEC's Jordan Hall on Sunday, selected "behind-the-scenes" areas of the January 29 at 8 p.m., celebrating anniver¬ building. In January and February, free walk- saries of Debussy (1862-1918) and Massenet up tours lasting approximately one hour take (1842-1912). Ms. Smirnova will perform place on four Saturdays at 2 p.m. (January 7, Debussy's Clair de lune with pianist Tatyana 21; February 4, 25) and eight Wednesdays at Dudochkin, NEC faculty member and event 4 p.m. (January 4,18, 25; February 1, 8,15, organizer. Other guests include opera stars 22, 29). All tours begin in the Massachusetts Yelena Dudochkin, Yegishe Manucharian, Avenue lobby of Symphony Hall. Special group and Mikhail Svetlov, and the NEC Youth tours—free for New England school and com¬ Symphony, Steven Karidoyanes, conductor. munity groups, or at a minimal charge for Tickets are $20 ($15 for students and sen¬ tours arranged by commercial tour opera¬ iors) and are available at the NEC Box Office. tors—can be scheduled in advance (the For further information, visit necmusic.edu/ BSO's schedule permitting). Make your indi¬ debussy-and-massenet-salute. vidual or group tour reservations today by visiting bso.org, by contacting the BSAV The Information Table: office at (617) 638-9390, or by e-mailing Find Out What’s Happening [email protected]. At the BSO
Are you interested in upcoming BSO concert BSO Members in Concert information? Special events at Symphony BSO harpist Jessica Zhou joins the Concord Hall? BSO youth activities? Stop by the infor¬ Chamber Players, founded by BSO violinist mation table in the Peter & Anne Brooke Wendy Putnam, on Sunday, January 15, at Corridor on the Massachusetts Avenue side 3 p.m. at the Concord Academy Performing of Symphony Hall (orchestra level). There Arts Center for a program including Andre you will find the latest performance, mem¬ Previn's Sonata for Clarinet and Piano (2010), bership, and Symphony Hall information Saint-Saens's Fantasie for Harp and Violin, provided by knowledgeable members of the and John Williams's Quartet for Harp, Clarinet, Boston Symphony Association of Volunteers. Violin, and Cello (2009). Tickets are $42 and The BSO Information Table is staffed before $33, discounted for seniors and students. each concert and during intermission. For more information, visit www.concord- chambermusic.org or call (978) 371-9667. Comings and Goings... The Walden Chamber Players, whose mem¬ Please note that latecomers will be seated bership includes BSO musicians Tatiana by the patron service staff during the first Dimitriades and Alexander Velinzon, violins, convenient pause in the program. In addition, Thomas Martin, clarinet, and Richard Ranti, please also note that patrons who leave the bassoon, perform Gerhard Schedl's String hall during the performance will not be Trio and his A Cinque for clarinet, violin, viola, allowed to reenter until the next convenient cello, and piano; Augusta Read Thomas's pause in the program, so as not to disturb the Silent Moon, for violin and viola, and Kaija performers or other audience members while Saariaho's Je sens un deuxieme coeur, for viola, the concert is in progress. We thank you for cello, and piano, on Monday, January 23, at your cooperation in this matter. 6:15 p.m. at Concord Academy Chapel, 166 Main Street, Concord. For ticket information, call (978) 985-6872 or email info@walden- chamberplayers.org.
WEEK 12 BSO NEWS 13 ARBELLA IS PROUD TO SUPPORT THE Boston Symphony Orchestra
■
Arbella is committed to supporting charitable
organizations that work so hard to positively impact the lives of those around them. We are & proud to be local and to help our neighbors, AR BELLA
INSURANCE
CHARITABLE FOUN o individuals and families in our communities. HERE FOR GOOD ON DISPLAY IN SYMPHONY HALL This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of the building, displays the breadth and depth of the Archives’ holdings, which documents countless facets of the orchestra’s history—music directors, players and instrument sections, and composers, as well as the world-famous acoustics, architec¬ tural features, and multi-faceted history of Symphony Hall.
HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF SYMPHONY HALL: • display cases in the Hatch Corridor spotlighting two works commissioned by the BSO in conjunction with its 50th anniversary during the 1930-31 season, Stravinsky’s “Symphony of Psalms” and Prokofiev’s Symphony No. 4 • display cases in the Massachusetts Avenue corridor focusing on BSO founder Henry Lee Higginson and the formation of the BSO’s first Board of Trustees in 1918 • also in the Massachusetts Avenue corridor, a display case focusing on the architec¬ tural details of the clerestory windows in Symphony Hall that were refurbished and reopened in 2009
EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE: • a display case focusing on the history and membership of the BSO’s trombone section • a display case focusing on the history and membership of the BSO’s flute section • a display case focusing on the search for a new music director in 1918, leading to the appointment of the BSO’s first French conductor, Henri Rabaud • a display in the Cabot-Cahners Room on the history of outside events at Symphony Hall, focusing particularly on dance performances, musical recitals, and travelogues
TOP OF PAGE, LEFT TO RIGHT: Roy Harris with members of the BSO's trombone section in February 1943, when the BSO premiered his Symphony No. S (photograph by Elizabeth Timberman)
Record cover for the BSO’s 1950 RCA Victor commercial recording of Prokofiev's "Peter and the Wolf" featuring Eleanor Roosevelt as narrator
Publicity photo for a Symphony Hall appearance by Russian ballerina Anna Pavlova, c.1920-21
WEEK 12 ON DISPLAY 15 Boston Symphony Orchestra
2011-2012
FIRST VIOLINS Xin Ding* Cathy Basrak Adam Esbensen* Donald C. and Ruth Brooks Heath Assistant Principal Blaise Dejardin * Malcolm Lowe chair, endowed in perpetuity Anne Stoneman chair, Concertmaster endowed in perpetuity Charles Munch chair, Glen Cherry* endowed in perpetuity Edward Gazouleas BASSES Yuncong Zhang* Lois and Harlan Anderson chair, Edwin Barker Tamara Smirnova endowed in perpetuity Principal Associate Concertmaster SECOND VIOLINS Harold D. Hodgk/nson chair, Helen Horner McIntyre chair, Robert Barnes endowed in perpetuity endowed in perpetuity Haldan Martinson Michael Zaretsky Principal Lawrence Wolfe Alexander Velinzon Carl Schoenhof Family chair, Marc Jeanneret Assistant Principal Assistant Concertmaster endowed in perpetuity Maria Nistazos Stata chair, Robert L. Beal, Enid L, and Mark Ludwig* endowed in perpetuity Bruce A. Beal chair, endowed Vyacheslav Uritsky Rachel Fagerburg* in perpetuity Assistant Principal Benjamin Levy Charlotte and Irving W. Rabb Kazuko Matsusaka* Leith Family chair, endowed Elita Kang chair, endowed in perpetuity in perpetuity Assistant Concertmaster Rebecca Gitter* Edward and Bertha C. Rose chair, Sheila Fiekowsky Dennis Roy endowed in perpetuity Shirley and J. Richard Fennell Joseph and Jan Brett Hearne CELLOS chair, endowed in perpetuity chair Bo Youp Hwang Jules Eskin John and Dorothy Wilson chair, Ronald Knudsen Joseph Hearne Principal endowed in perpetuity David H. and Edith C. Howie Philip R. Allen chair, James Orleans* chair, endowed in perpetuity Lucia Lin endowed in perpetuity Todd Seeber* Dorothy Q. and David B. Arnold, Jr., Ronan Lefkowitz chair, endowed in perpetuity Martha Babcock Eleanor L. and Levin H. Campbell Nancy Bracken* Assistant Principal chair, endowed in perpetuity Ikuko Mizuno Vernon and Marion Alden chair, Aza Raykhtsaum* John Stovall* Muriel C. Kasdon and Marjorie C. endowed in perpetuity Raley chair Robert Bradford Newman chair, endowed in perpetuity Sato Knudsen Jennie Shames * Mischa Nieland chair, FLUTES Ruth and Carl J. Shapiro chair, Bonnie Bewick*5 endowed in perpetuity Elizabeth Rowe endowed in perpetuity James Cooke* Mihail Jojatu Principal Valeria Vilker Kuchment* Walter Piston chair, endowed Victor Romanul*5 Sandra and David Bakalar chair Theodore W. and Evelyn in perpetuity Bessie Pappas chair Berenson Family chair Jonathan Miller* Clint Foreman Catherine French * Richard C. and Ellen E. Paine Tatiana Dimitriades* chair, endowed in perpetuity Myra and Robert Kraft chair, Stephanie Morris Marryott and Jason Horowitz* endowed in perpetuity Franklin J. Marryott chair Owen Young* Julianne Lee* John F. Cogan, Jr., and Mary L. Elizabeth Ostling Si-Jing Huang* Cornille chair, endowed in Associate Principal Catherine and Paul Buttenwieser Ala Jojatu* perpetuity Marian Gray Lewis chair, chair endowed in perpetuity Mickey Katz* Nicole Monahan * VIOLAS Stephen and Dorothy Weber Mary B. Saltonstall chair, Steven Ansell chair, endowed in perpetuity endowed in perpetuity Principal Alexandre Lecarme* Wendy Putnam * Charles S. Dana chair, endowed Kristin and Roger Servison chair in perpetuity
BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR THOMAS WILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Foundation Conductor Emeritus Music Director Youth and Family Concerts endowed in perpetuity endowed in perpetuity Conductor endowed in perpetuity photos by Michael J. Lutch
PICCOLO Suzanne Nelsen Thomas Siders HARP John D. and Vera M. MacDonald Assistant Principal Cynthia Meyers chair Kathryn H. and Edward M. Jessica Zhou Evelyn and C. Charles Marran Lupean chair Nicholas and Thalia Zervas chair, Richard Ranti chair, endowed in perpetuity endowed in perpetuity by Associate Principal Michael Martin Sophia and Bernard Gordon Diana Osgood Tottenham/ Ford H. Cooper chair, OBOES Hamilton Osgood chair, endowed in perpetuity endowed in perpetuity VOICE AND CHORUS John Ferrillo Principal TROMBONES John Oliver Mildred B. Remis chair, CONTRABASSOON Tanglewood Festival Chorus endowed in perpetuity Toby Oft Conductor Gregg Henegar Principal Alan J. and Suzanne W. Dworsky Mark McEwen Helen Rand Thayer chair J.P. and Mary B. Barger chair, chair, endowed in perpetuity James and Tina Collias chair endowed in perpetuity
Keisuke Wakao HORNS Stephen Lange LIBRARIANS Assistant Principal Faria and Harvey Chet Krentzman James Sommerville Marshall Burlingame chair, endowed in perpetuity Principal BASS TROMBONE Principal Helen Sagoff Slosberg/Edna S. Lia and William Poorvu chair, Douglas Yeo Kalman chair, endowed in endowed in perpetuity John Moors Cabot chair, ENGLISH HORN perpetuity endowed in perpetuity William Shisler Robert Sheena Richard Sebring Beranek chair, endowed in Associate Principal John Perkel perpetuity Margaret Andersen Congleton TUBA chair, endowed in perpetuity Mike Roylance ASSISTANT CLARINETS Rachel Childers Principal CONDUCTORS John P. II and Nancy S. Eust/s Margaret and William C. William R. Hudgins Marcelo Lehninger chair, endowed in perpetuity Rousseau chair, endowed Principal in perpetuity Anna E. Finnerty chair, Ann S.M. Banks chair, (position vacant) endowed in perpetuity endowed in perpetuity Elizabeth B. Storer chair, Sean Newhouse endowed in perpetuity TIMPANI Michael Wayne Jason Snider Timothy Genis Thomas Martin Sylvia Shippen Wells chair, PERSONNEL Associate Principal & Jonathan Menkis endowed in perpetuity MANAGERS E-flat clarinet Jean-Noel and Mona N. Tariot Lynn G. Larsen Stanton W. and Elisabeth K. chair Davis chair, endowed in PERCUSSION Bruce M. Creditor perpetuity TRUMPETS J. William Hudgins Assistant Personnel Manager Peter and Anne Brooke chair, Thomas Rolfs BASS CLARINET endowed in perpetuity Principal STAGE MANAGER Craig Nordstrom Roger Louis Vois/n chair, Daniel Bauch John Demick endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Unde BASSOONS Benjamin Wright chair Arthur and Linda Gelb chair Richard Svoboda (position vacant) Principal Peter Andrew Lurie chair, Edward A. Taft chair, endowed in perpetuity * participating in a system endowed in perpetuity of rotated seating (position vacant) § on sabbatical leave Barbara Lee chair
WEEK 12 BOSTON SYMPHONY ORCHESTRA 17 Real people. Real heroes.
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Vee Donohue teacher at .Vi orphanage, Naval lieutenant commander at Pearl Harbor, and resident at Life Care Center of Stoneham Assisted Living The Great Strauss Tone Poems: A Composer’s Journey Through Young Manhood by Paul Thomason
Richard Strauss’s “Till Eulenspiegel’s Merry Pranks,” which concludes this week’s BSO program under the direction of David Zinman, is the third Strauss tone poem to be per¬ formed by the Boston Symphony Orchestra this season. Rafael Frubeck de Burgos led the composer’s “Ein Heldenleben” in November, and Andris Nelsons led Strauss’s “Also sprach Zarathustra” here last week.
In September 1947, Richard Strauss climbed into an airplane for the first time and flew to London, where Sir Thomas Beecham had arranged a festival of Strauss's music. As part of the celebrations, Strauss himself was conducting the recently formed Philharmonia Orchestra in three of his works.
It was during a rehearsal for this concert that the eighty-three-year-old composer made a self-deprecating remark that has colored critical assessment of his music ever since. As Norman Del Mar, Strauss's future biographer and a participant in the festival, tells the story: "Something had not quite pleased him, and he was heard to say, 'No, I know what I want, and I know what I meant when I wrote this. After all, I may not be a first-rate composer, but I am a first-class second-rate composer!'"
The remark is unfortunate, but typical of Strauss, who shielded his inner thoughts and emotions from the public, and who was apparently content to be perceived as a bour¬ geois, even vulgar man of little intellectual curiosity, sometimes dubious artistic sensibility, and concerned mainly with money, playing cards, and churning out music to make more money. By the time of Strauss's quip, much of the musical critical establishment had written him off as a has-been, someone who wrote a few promising pieces in his youth but had not fulfilled his potential because (as they saw it) he turned his back on real music in favor of repeating a few cheap tricks and pleasing the audience.
Yet any honest critic who examines the work itself—rather than blaming the composer for what he did not write, or being suspicious of him for his early and almost constant success—might well acknowledge that Richard Strauss is one of the truly great com¬ posers in Western music, a man who celebrated the human experience deeply and broadly, wrote brilliantly in a remarkable variety of forms, and who, once he found his voice, spent decades being true to it.
With its performances this season of Strauss's Ein Heldenleben, Also sprach Zarathustra, and Till Eulenspiegel's Merry Pranks, the Boston Symphony Orchestra is giving audiences an opportunity not only to re-experience and enjoy these remarkable works, but to remind themselves of the composer's mastery.
Strauss is one of the very few triple-threat composers in history, equally brilliant at writing songs, writing instrumental music, and writing operas. His first brush with fame came
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20 Richard Strauss in 1888, the year he completed "Don Juan
with his songs. His remarkable Opus 10 songs, written in 1882-83 before he was twenty, include the always popular "Zueignung," "Die Nacht," and "Allerseelen" He was only twenty-five when the premiere of his tone poem Don Juan overnight made him the great hope of German music, the composer who would take up the mantle of Wagner and Liszt, and who could write for the orchestra with as much originality, skill, and elan as he could write for the voice. At the time, that combination led to only one destination- opera. And with his third opera, Salome, Strauss, then barely in his forties, achieved the Triple Crown, going on to write one of the most remarkable and diverse groups of operas in history.
Strauss composed songs throughout his life, almost 200 in all. But the great series of six tone poems on which so much of his reputation as an orchestral composer rests—Don Juan, Tod und Verklarung (Death and Transfiguration), Till Eulenspiegel, Also sprach Zarathustra, Don Quixote, and Ein Heldenleben—were written in a ten-year period from 1888 to 1898. He was twenty-four to thirty-four years old at the time, and these tone poems are very much a young man's music—not only in the virility and confidence that bursts from almost every page of their scores, but also in their subjects.
Since the tone poems were not written on commission, Strauss had totally free rein to write about anything he wanted to; and he chose to explore different aspects of mas¬ culinity-doing so at the time of life when most young men are coming to grips in very concrete ways with what it means to be a man. Strauss, too, was forging a career, getting married, and starting a family. In three of these works he examined three specific mas¬ culine archetypes (Don Juan, Till Eulenspiegel, and Don Quixote); in the other three, he explored more philosophical aspects of life (Death and Transfiguration, Also sprach Zarathustra, and Ein Heldenleben).
The order in which the works were written is fascinating. The first, Don Juan, is a celebra¬ tion of exuberant masculine sexuality, an appropriate subject for a twenty-four-year-old
WEEK 12 composer. The subtitle of the piece, "after Nikolaus Lenau," refers to a well-known poem of the time, part of which was printed in the score. It is a hymn to the Dionysian ideal: "I shun satiety and weariness of pleasure, and keep myself fresh, in the service of the beau¬ tiful; hurting the individual woman, I adore the whole species.... Just as every beauty is unique in the world, so also is the love to which it gives pleasure. Out, then, and away after the ever-new victories as long as the fiery ardors of youth still soar!"
And soar Strauss's music does. It's the very embodiment of rampant masculinity delight¬ ing in itself. But the tone poem, like the literary poem, recognizes that this aspect of life does not last forever, and the last two pages of the score are faithful to Lenau's ending: "...the fuel is consumed and the hearth has become cold and dark." But those are two pages out of ninety, and what took the world by storm in 1889, and has held audiences in thrall ever since, is the uninhibited joy Strauss's music seems to take in the life-force itself.
That makes the subject of his next tone poem, Tod und Verklarung (Death and Transfigura¬ tion), written the following year, all the more surprising. Again the score contains a poem that inspired the composer: a man lies dying on his cot, struggling with his illness. He remembers the different stages of life and the ideal that gave it meaning. "To take every¬ thing that ever seems transfigured and to mold it into an even more transfigured shape: this alone is the noble impulse that accompanies him through life.” But it is only after death that one finds "world-redemption, world-transfiguration," captured in the over¬ whelming spiritual exaltation of the work's climax.
From this profound wrestling with the meaning of life and death, Strauss, for his next tone poem, leaped to a celebration of the trickster—77// Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks'). At first Strauss planned to use the legend of the medieval scamp as the basis for an opera, but he realized that "the book of fairytales only outlines a rogue with too superficial a dramatic personality" to support an opera. On the other hand, the episodic nature of the story would be perfect for an instrumental piece written in rondo form, in which one part, or theme—the theme of Till himself—periodically recurs. Strauss believed that the subject of a tone poem should dictate the form the music took, rather than the form imposing itself on the subject; in Till Eulenspiegel the marriage between subject and form is perfect.
Also perfect is the sense of Till-like glee with which Strauss manipulates his enormous orchestra. Never before had a composer exploited the potential of individual instruments so completely. Yet every bit of Strauss's dazzling technical mastery is at the service of his subject, the humor of Till's adventures and the chaos they caused. In his own score Strauss jotted down a few specific actions at different places in the music, but he resis¬ ted attempts to codify what specific sections "meant." When a conductor asked him to provide a program the audience could follow, Strauss refused, suggesting, "Let us, this time, leave it to the audience to crack the nuts which the rogue has prepared for them." Ultimately Till Eulenspiegel is one of the funniest and most delightful fifteen minutes in all Wedding photo from 1894 of Richard Strauss and soprano Pauline de Ahna
of music—even if the listener has no idea what the actual "subject" of the piece is.
In his next tone poem, Strauss gravitated to an idea about as far from the impish humor of Till as he could get—Friedrich Nietzsche's Also sprach Zarathustra. Strauss's tone poem is "freely based on" Nietzsche's work, wrote the composer on the title page; and though various titles are given to sections of the music ("Of Joys and Passions," for instance, or "The Convalescent"), he was not trying to set Nietzsche's philosophy to music but, as he later wrote, "to pay homage to the genius of Nietzsche, which found its greatest exempli¬ fication in his book, Thus Spoke Zarathustra."
How ironic that Strauss, so often accused by his detractors of intellectual sloth—indeed, of being just this side of illiterate—wrote so magnificent a piece of music inspired by a book of Nietzsche. In fact, during the time he was writing his six great tone poems, not only did he devour Nietzsche, he delved deeply into the philosophy of Schopenhauer, and wrestled with its implications for his own existence (something we know from his letters to close friends).
This is no surprise. Strauss read widely throughout his life, traversing the complete works of Goethe three times. Reading his letters to his librettists, it is obvious his knowledge of drama goes far beyond the German world, and that he has an almost instinctive grasp of what makes a character, or a plot, work. The great conductor Karl Bohm, who knew Strauss well and led the world premieres of two of his operas, said, "Sometimes it was quite impossible to follow Strauss in every topic of his conversation: one had to be as well up in literature as in music to be able to hold one's own with him. He was at home in German literature as no other musician, and he was equally familiar with Russian literature."
It was in Spanish literature—specifically Cervantes' Don Quixote—that Strauss found inspiration for his next tone poem, writing a set of "Fantastic Variations on a Theme of
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45 School Street, Old City Hall, Boston, MA 02108 T:617.523.1635 | www.welchforbes.com Knightly Character" (to quote the title page of the score). It has been suggested that Strauss's one-act operas Salome and Elektra are really tone poems with voices, and there's a great deal of truth in that. It is perhaps also true that Strauss's six great tone poems can be seen as mini-operas for the orchestra, and nowhere more so than in Don Quixote, with its virtuoso parts for solo cello (Don Quixote) and solo viola (Sancho Panza). Strauss also uses solo violin (Don Quixote) and tenor tuba and bass clarinet (Sancho Panza) in depicting his characters. And depict them he does—in a variety of settings, moods, and interactions with other characters. By the end of the piece we feel we actually know, per¬ haps even love, Don Quixote. Certainly Strauss's affection for the character—foibles and all—is audible in every measure of this complex score.
It is appropriate that the last of the six great tone poems was Ein Heldenleben, which, in a sense, sums up everything that had gone before. All the various aspects of masculinity Strauss has explored have matured into a heroic life. Though the English translation of Ein Heldenleben is usually "A Hero's Life," "A Heroic Life" would be more accurate. Strauss has often been criticized for allegedly writing a lengthy work about himself (he quotes from his own compositions in the section labeled "The Hero's Works of Peace'')—yet no one seems to find it reprehensible that Rembrandt (to mention only one artist) painted portraits of himself, or that the world of literature is strewn with autobiographies.
But Strauss was not writing a musical autobiography. (He would do that several years after Heldenleben in his Symphonia domestica, which would itself be followed a decade later by one more inventive, ingenious tone poem, An Alpine Symphony.) He was still just thirty-four. Ahead of him were thirteen astonishing operas, beginning with Salome. If the tone poems explored the world of masculinity, Strauss's operas would explore the femi¬ nine. More than any other opera composer, he devoted himself to the female voice, even writing two of his most charming young male characters (Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos) to be sung by women. His last great composi¬ tion would be the Four Last Songs—the perfect summing-up, in music for the voice and for the orchestra, of a life devoted to celebrating life itself. But already with Ein Heldenleben he was depicting in music a heroic life, in the sense of a life lived consciously, through adversity as well as pleasure, a life that ultimately results in true fulfillment and peace— a fitting conclusion to the remarkable journey begun ten years earlier with Don Juan.
PAUL THOMASON writes frequently for the Metropolitan Opera, San Francisco Symphony, and Aspen Music Festival program books. He has a particular passion for the music of Richard Strauss.
WEEK 12 25
V ..y \y . The Peace Corps and its invaluable role in spreading liberty and justice around the world. Just one of the things to discover about John F. Kennedy’s first year in office. jf j I ijl Visit the JFK Presidential Librafy and Museurfi. Columbia Point, Boston, jfklibrary.org BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
Boston Symphony Orchestra
131st season, 2011-2012
Thursday, January 12, 8pm Friday, January 13,1:30pm
Saturday, January 14, 8pm | the Theresa m. and Charles f. stone hi CONCERT Tuesday, January 17, 8pm
DAVID ZINMAN conducting
WEBER OVERTURE TO THE OPERA EURYANTHE
BEETHOVEN PIANO CONCERTO NO. 1 IN C, OPUS 15
Allegro con brio Largo Rondo: Allegro
LEIF OVE ANDSNES
{INTERMISSION}
HARBISON SYMPHONY NO. 6 (2011)
(WORLD premiere; commissioned by the boston symphony orchestra, JAMES LEVINE, MUSIC DIRECTOR, THROUGH THE GENEROUS SUPPORT OF CATHERINE AND PAUL BUTTENWIESER, AND OF THE NEW WORKS FUND ESTABLISHED BY THE MASSACHUSETTS CULTURAL COUNCIL, A STATE AGENCY)
I. Con moto (Song: "Entering the Temple in NTmes"; poem by James Wright) II. Introduzione. Con anima—Grazioso III. Vivo, Ruvido IV. Moderato cantabile e semplice
PAULA MURRIHY, MEZZO-SOPRANO
Text for the first movement is on page 51.
STRAUSS TILL EULENSPIEGEL S MERRY PRANKS, AFTER THE OLD ROGUE'S TALE, SET IN RONDO FORM FOR LARGE ORCHESTRA, OPUS 28
UBS IS PROUD TO SPONSOR THE BSO'S 2011-2012 SEASON.
The evening concerts will end about 10:10 and the afternoon concert about 3:45. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the "Lafont," generously donated to the Boston Symphony Orchestra by the O'Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. 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.
WEEK 12 PROGRAM 27 ^ The Program in Brief...
Carl Maria von Weber grew up in a theatrical family and became, as an opera composer, one of the most influential early Romantics. Following the great success of his 1821 drama Der Freischutz, he received a prestigious request from the Karntnertor Theater in Vienna to write a new opera, which would become Euryanthe. Unfortunately, due to an unworkable libretto, Euryanthe was a flop, though the music is considered some of Weber's best. The overture quotes from the hero Adolar's aria declaring his faith in God and his wife, Euryanthe, as well as from Euryanthe's own first-act aria. In addition, a quiet middle section foreshadows a scene in which Euryanthe tells of a visit from her sister-in- law's ghost.
Beethoven's Piano Concerto No. 1 dates from early in his career, when he was first pre¬ senting himself as both composer and performer, and still working under the strong influence of Mozart and Haydn—though his adventurous and distinctive voice is nonethe¬ less evident, particularly in his piano music. The first movement of the Piano Concerto No. 1 begins with a cheerful march in the orchestra. This martial opening and many virtu- osic passages are tempered by unexpected introspection, with extended minor-key episodes contrasting with the airy home key of C major. The sedate and lovely middle movement is offset by a jocular rondo finale that takes many surprising turns.
This week's world premiere performances of John Harbison's Sixth Symphony bring to a close the BSO's two-season survey of the composer's symphonies. The Sixth, composed between 2009 and 2011, was commissioned by the BSO especially for this occasion. At a fairly late stage in the process, Harbison decided to add a vocal movement to begin the piece. That first movement, which lays the groundwork for what follows, is a setting for mezzo-soprano and small orchestra of James Wright's poem "Entering the Temple in NTmes." The other three movements are scored for a larger orchestra and are purely instru¬ mental, each exploring from a different perspective the musical material of the prologue.
Richard Strauss's amazing series of symphonic poems in the late 1880s and throughout the 1890s marked the composer as a "music-of-the-future" successor to Wagner and Liszt. In addition to the young composer's absolute mastery of and innovation in his use of the orchestra, the range of subject matter for these tone poems is itself remarkable— from Don Juan and Don Quixote, to the experience of dying, to Nietzsche's most mysti¬ cal philosophical work. Till Eulenspiegel's Merry Pranks is arguably the liveliest and funni¬ est of them all. The German folk hero Till Eulenspiegel is a rogue and ne'er-do-well whose escapades, which include arguing with clerics about religion and riding a horse willy-nilly through a crowded marketplace, Strauss captures almost cinematically in this brilliantly entertaining piece.
28 Carl Maria von Weber Overture to “Euryanthe”
CARL MARIA VON WEBER was bom in Eutin, near Lubeck, apparently on November 18, 1786, and died in London on June 5, 1826. He composed his “grand heroic-romantic opera” “Euryanthe” to a libretto by Helmina von Chezy in 1822 and 1823; the first performance took place in the Karntnertor Theater in Vienna on October 25, 1823.
THE SCORE OF THE OVERTURE calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.
Following the enormous success of Der Freischutz, Weber was eager to continue forging a new path for German opera. In October 1821 he requested a libretto from an acquaintance with literary velleities, Helmina von Chezy. Overruling her protestations that she had never written a theatrical piece, knew nothing about opera, and had not even been to an opera for years, Weber presented her with samples of librettos he admired in order to give her some indication of what he was looking for. Everyone was hoping for a carbon copy of Freischutz (theater managers in the early nineteenth century were no different from television executives today), but Weber was determined to move into higher spheres and to write a serious, through-composed score.
Up until the 1820s, all German operas had fallen into the tradition of the Singspiel, literally a "sung play,” with spoken dialogue connecting independent musical numbers. Italian and French opera in the serious genres, at least, had already become completely musical, sung from beginning to end, thus avoiding problems involved in mixing the elevated tone of song with the more casual, often farcical air of dialogue. But in Germany, even operas aiming at the very highest level of ethical tone—The Magic Flute and Fidelio, for example— were not distinguished in a formal sense from the merest vulgar farce.
Weber was determined to change that. He planned to write music that would run from beginning to end of the work. It is unfortunate that he did not listen to Chezy when she
WEEK 12 PROGRAM NOTES Boston Music Hall.
SEASON 1882 - 83. BOSTON SYMPHONY ORCHESTRA,
MR. CEORC HENSCHEL, CONDUCTOR.
X. C0NCE1W. Saturday, December 9th, at 8, P. M.
PROGRAMME.
OVERTURE. (Euryanthe.).WEBER.
CONCERTO FOR PIANO-FORTE in G minor, No. 2, op. 22. SAINT-SAENS. Andante sostenuto—Allegro scherzando_Presto_
SYMPHONY in E flat, No. 2, op. 4(5. ... GERNSHEIM. (NEW. FIRST TIME.) Allegro tranquillo—Tarantella.—Notturno. Finale.—
ARIA. (Idomeneo.).MOZART.
BALLET-MUSIC. (Feramora.) .... RUBINSTEIN. ;u Dance of Bayaderes, b. Candle-Dam e of the Brides of Kashmire. e. Wedding March.
SOLOISTS : MRS. H. F. KNOWLES, Soprano. MR. OTTO BENDIX, Pianoforte.
Mr. Bcndlx will use a Knabe Piano.
Program page for the first Boston Symphony Orchestra performance of the overture to Weber's "Euryanthe” on December 9, 1882, with Georg Henschel conducting (BSO Archives)
30 insisted that she was not up to the task, because she was absolutely right. (In fact, her incompetence was ultimately responsible for the near loss of two important compositions: in addition to Euryanthe, she wrote the play to which Schubert composed his delightful Rosamunde music, but the colossal failure of the play itself meant that Schubert's music went lost for decades until it was discovered almost by accident.) Even when she had sent him a hopeless first draft, Weber did not give up on her, possibly because he felt some pity for her: she had already been through two unhappy marriages and had become, by this time, a pathetic eccentric. In any case, Weber realized that the first draft of the libretto was quite impossible. He consulted other theatrical and literary people, including such estimable figures as Ludwig Tieck, but failed to take such advice as they offered. In the end, even though Act III alone was rewritten eleven times, the result was a tangled hodgepodge of incidents and insufficiently motivated characters. In fact, no libretto in the history of opera has ever been so vehemently criticized as this one, especially because the high level of Weber's musical imagination makes it quite clear that under other cir¬ cumstances, his opera might have been one of the great dramatic masterpieces.
The essential kernel of the plot is a common one, found in Boccaccio and many other sources: a husband boasts of his wife's fidelity; he is then falsely convinced that she has been untrue; he attempts to avenge his honor by killing her, though she escapes; the false betrayer is discovered and punished; the couple is reunited. Besides having an old- fashioned plot, the libretto suffers also from absurdly stilted language. And the plot has some gaping holes, most obviously the fact that the heroine could have cleared up the entire mess when she was first accused but failed to do so for no other reason, it seems, than that the story would end too soon to make a full opera.
But what is important is how the composer reacts in his music, and there is no doubt that Weber produced a rich, colorful, dramatic, and brilliantly evocative score. In fact, no German composer after Weber could write an opera without taking Euryanthe into account: the rich use of chromatic harmony, far more daring than any composer of the time had employed; the varied orchestral color; the determination to unify the score, rather than allow it to be a patchwork of independent numbers—all these things pointed the way to the future.
As was typical of his practice, Weber composed the overture last. In Der Freischutz, the overture had provided something of a dramatic summary of the story to follow: the con¬ flict between good and evil was already laid forth in the music heard before the curtain rose. The overture to Euryanthe was not so closely connected to the drama, though it is without doubt a brilliant achievement. Rather than summarizing the opposing forces of the plot, Weber used two themes associated with his hero, Adolar, for the two main themes of the sonata-form overture. Following a fanfare-like statement with rushing string parts, the winds utter Adolar's firm declaration of faith, "Ich bau' auf Gott und meine Euryanthe" ("I trust in God and my Euryanthe''); the festive E-flat music associated with the court moves to the dominant, where first violins introduce his love song, "0 Seligkeit, dich fass' ich kaum" ("0 such bliss I can scarcely grasp"). Most of the remain-
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OMMONWEALTH WORLDWIDE production of ",Euryanthe" der of the overture simply puts these themes through their paces, though there is an absolutely magical passage in the development section which quotes the music Weber wrote for a ghost scene, with the uncanny orchestral color created by the simple device of having eight solo violins, muted, playing against tremolos in the viola section. A fugato fills the heart of the development and brings about the return of the principal themes and a conclusion of festive brilliance. Steven Ledbetter STEVEN LEDBETTER was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country. THE FIRST KNOWN AMERICAN PERFORMANCE OF THE OVERTURE TO "EURYANTHE" was given by the New York Philharmonic under the direction of George Loder on May 15, 1844. THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE OVERTURE was given by Georg Henschel on December 9, 1882, subsequent BSO performances being given by Wilhelm Gericke, Franz Kneisel, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Henri Rabaud, Pierre Monteux, Bruno Walter, Serge Koussevitzky, Richard Burgin, Charles Munch, Eleazar de Carvalho, Maxim Shostakovich (the most recent subscription performances, in December 1981), Emil Tchakarov, and Marek Janowski (the most recent Tanglewood performance, on August 5, 1990). WEEK 12 PROGRAM NOTES 33 Welcome Home! Bob and Carol Henderson, Fox Hill Village residents No matter how long their absence, each time the Hendersons return home from their world travels or visiting their homes in New Hampshire and Florida, they feel truly welcomed by the friendly residents and loyal staff of Fox Hill Village. Bob, the former CEO of ITEK, and Carol, mother of four sons, appreciate the availability of onsite cultural activities like college courses, movies, lectures, and concerts, the convenient fitness center, and dependable security that means worry-free travel. Passionate supporters of the arts, Bob is an Honorary Trustee and former Chairman of the Board of the MFA and Carol is a Life Trustee of the New England Conservatory and an Overseer of the BSO. Both love living so close to Boston making it a breeze to attend functions in the city yet leave time to cheer at their grandsons’ football games in Dedham on the same day! Superb options in dining, distinguished floor plans, Mass General associated Wellness Clinic, and most importantly, the flexibility and the accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction. Like Bob and Carol, come and experience for yourself the incomparable elegance of Fox Hill Village, New England’s premiere retirement community. To learn more, call us at 781-329-4433 or visit us on the web at: www.foxhillvillage.com Developed by the Massachusetts General Hospital. Fox Hill Village at Westwood 10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B off Route 128) 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. At these performances, Leif Ove Andsnes plays cadenzas by Beethoven. 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, extemporiz¬ ing 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 12 PROGRAM NOTES v V'i—H 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 for 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 instru¬ ments. Erard 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 develop¬ ment 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 instru¬ ment 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 eigh¬ teenth 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- WEEK 12 PROGRAM NOTES 37 We Look Forward to Doing the Same for Boston-Area Seniors. Waterstone at Wellesley, Retirement Living for Independent Seniors. Opening Spring 2012. Distinctive Culture. Active Lifestyle. 83 Apartments of Distinction. Five-Star Amenities. Concierge Service. Gourmet, Chef-Inspired Dining. Indoor Pool. Pub. Heated Parking Garage. Salon & Spa. Now accepting reservations for membership in Club 27, our exclusive founders group where members enjoy pre-construction pricing, best apartment choices and special incentives. www.WaterstoneAtWellesley.com Visit our Welcome Center WATERSTON E for a preview of the AT WELLESLEY exclusive senior lifestyle at 40 Washington Street in 781.236.3448 Wellesley. 27 Washington Street, Wellesley ■■ WMwm iBott ■■■■ A V V I S 0. Oggi Penerdi 8. del corrente Gen* najo la Sig>~a. Maria Bolla, virtuo- fa di Mujica, dard una Accademia nella piccola Sala del Ridotto. La Mujica Jard di ?mova compojizione del Sigre. Haydn, il quale ne Jard alia direzione. A Pi canter an no la Sigra. Bolla, la Sigi a. 7 omconi, e il Sigre. Mombelli. U Sigre. Bctbofen fuonerd un Concerto J'ul Pianoforte. Il prezzo dei biglietti d' ingrcjfo Jard di urn zeccbwo. Que/ti potran- no averji o alia Caff a del Teatro Na- zionale, o in cafa della Sigra. Bolla, nella PariJ'ergaffe Nro. 444. al fecon- do piano. Announcement (in Italian) for a Vienna concert on January 8, 1796, in which—as listed halfway down— rjneipio Jard alle oreJ'ei e mezza. "Signor Beethoven will play a piano concerto" (which was likely his own B-flat piano concerto known to us as his No. 2) 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 major was written after the Second in B-flat major, thus numbered because the C major was published first. The B-flat major concerto had a long and rambling 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 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 soft¬ ly, at a distance, in a stately dah, dit-dit dah figure; with a forte the parade is upon us. The WEEK 12 PROGRAM NOTES 39 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 passage- work, 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: 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 golant so much as atmospheric and introspective. Here as elsewhere, some of the most moving and fresh music in early Beethoven are the slow movements. 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. 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 The Best Location for Seniors in Cambridge The Cambridge Homes Independent & Assisted Living 617-876-0 3 69 Next to Mount Auburn Hospital www.TheCambridge Homes.org 40 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 an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and "The Vintage Guide to Classical Music." An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at The Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin. THE FIRST AMERICAN PERFORMANCE OF BEETHOVEN'S PIANO CONCERTO NO. i was given on March 19, 1857, by pianist Franz Werner with Frederic 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 Society, Carl Zerrahn conducting. THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE CONCERTO was a single perform¬ ance 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 con¬ ducting 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), Rudolf Serkin (Ozawa), Justus Frantz (Eschenbach), Eschenbach again (doubling as soloist and conductor), Alfred Brendel (Hiroshi Wakasugi and, on several later occasions, Ozawa), Rudolf Firkusny (Jesus Lopez-Cobos), Maria Tipo (Robert Spano), Radu Lupu (Mariss Jansons), Richard Goode (Ozawa), Andre Watts (Alan Gilbert), Murray Perahia (Bernard Haitink), Gianluca Cascioli (Roberto Abbado), Lars Vogt (Andrey Boreyko), Piotr Anderszewski (the most recent sub¬ scription performances, in April 2006 with Robert Spano), and Imogen Cooper (the most recent Tanglewood performance, on August 25, 2006, with Gustavo Dudamel conducting). WEEK 12 PROGRAM NOTES Until her musical education becomes part of their education, BSO piccolo player and BSO Academy Musician-in-Residence Names and/or references to third parties in this print advertisement are used with permission 6 UBS 2011 All rights reserved Until our dedication shows in everything we do. Until we've given everything we can. Shone a light in all the corners. Until we've left no stone unturned, no possibility untried. Until we've left our mark on the present, and the future. UBS is proud to be the Season Sponsor of the BSO and the inaugural sponsor of the BSO Academy School Initiative. Not just because we're fans, but because we share a common trait; a refusal to allow good enough to be good enough. We will not rest www.ubs.com/wewillnotrest-us John Harbison on his Symphonies: Introduction to a Cycle The Boston Symphony Orchestra's cycle of John Harbison’s symphonies, which began in fall 2010 with performances of his symphonies 1, 2, and 3 and continued this past fall with Nos. 4 and 5, concludes this week with the world premiere performances of his BSO- commissioned Symphony No. 6. I have never been one of those who felt the Symphony was played out. So many wonder¬ ful symphonies appeared during my early years as a composer. I remember especially recordings of pieces by Tippett, Piston, Lutostawski, and Henze, as well as live per¬ formances here in Boston of great symphonies by Dutilleux, Sessions, and Hindemith. I had first to respond to another task—to absorb the very different musical proposals of our two Hollywood emigre composers, Schoenberg and Stravinsky. I needed at least the experience of writing a large orchestral tone poem, Diotima; concertos for piano and vio¬ lin, an hour-long song cycle Mottetti di Montale, and two operas, Winter's Tale and Full Moon in March, to line things up. Eventually I felt convinced by the title ''Symphony.'' I couldn't see why our big orchestral pieces needed to be called things like Consternations or Entropies I (the 1960s) or Rimmed by a Veiled Vision (the 70s) if they were symphonic in ambition and scale. The twentieth century brought a lot to this genre, beginning with the great joust between Mahler and Sibelius (with Nielsen providing yet another even more eccentric route). Mahler proposed The Symphony as published autobiography, Sibelius as the free associ¬ ation of a private diary. New formal ideas came from these extreme positions, new kinds of grandeur and intimacy. The hardest thing to win back for the big genres of symphony and string quartet is some kind of naturalness, some escape from the self-consciousness of our artistic time. By setting down Symphony on our title page we accept requirements, expectations, but cannot let them in while we work. It is not a test, it is a freely offered proof, or deed. We will need tunes, harmonies that define form, development that is also play, many tones of voice, movements and sections of varied length and weight. We will need much of what we usually need, plus the conviction of not having done it this way before. At least these are some of the things I remembered to say to myself as I embarked—aware that if I found just one beginning it could be the net or foil that gets more phrases, eventually a piece. And once there is one piece, another comes from the determination to do something different. And another, to work away from the first two. I am grateful to James Levine for offering a chance to weight them individually, to see how they add up, to see—at distances of thirty years to a few months—if they contain their year of origin and still pertain to our present. To see if they are symphonies. John Harbison, October 2010 44 ET John Harbison Symphony No. 6 (2011) JOHN HARBISON was bom in Orange, New Jersey, on December 20,1938, and lives in Cambridge, Massachusetts, and Token Creek, Wisconsin. His Symphony No. 6 was commissioned by the Boston Symphony Orchestra at the request of its then music director James Levine; the premiere this week comes as intended, as the culmination of a two-season complete survey of Harbison’s symphonies. Harbison composed the symphony in Cambridge, Token Creek, and Lenox, Massa¬ chusetts, beginning in June 2009 and completing the full score in October 2011. The piece is ded¬ icated “to James Levine in friendship and gratitude.” These are the first performances. THE SCORE OF HARBISON’S SYMPHONY NO. 6 calls for mezzo-soprano soloist (in the first movement only), three flutes (third doubling piccolo), three oboes (third doubling English horn, three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, percussion (vibraphone, glockenspiel, congas, bongo, large and small tam-tams, small and large gongs, marimba, side drum, bass drum, flexatone, tubular bells, cymbals, metal chain), timpani, cimbalom, and strings. Nicholas Tolle is the cim¬ balom player in these performances (see the composer’s own note beginning on page 50). For cimbalom-poor cities, Harbison provides the option of replacing that instrument with prepared piano. The duration of the symphony is about twenty-five minutes. In John Harbison's note for his Sixth Symphony, the line "These two sentences are far from formalities" laconically hints at the significance of the boilerplate-like commission¬ ing credit referring to James Levine. In conversations about the piece, Harbison under¬ lines the fact that the piece is in a way a portrait of Levine, reflecting the artistic resilience and dedication that have been hallmarks of his career. Levine is, famously, a champion for the music he believes in, from Mozart and Beethoven (hardly in need of further champions, but always in need of great performances) to Schoenberg, Berg, and contem¬ porary composers. His special interest in living American composers has resulted in dozens of commissions, in recent years spread among the Metropolitan Opera and its two ensembles, the Met Orchestra and the Met Chamber Ensemble, plus, of course, the Boston Symphony Orchestra, where Levine was music director from 2004 until September WEEK 12 PROGRAM NOTES - Coldwell Banker -H COLDWELL BANKER P R E V I E W S] PREVIEWS - INTERNATIONAL® -:-1 INTERNATIONAL The Luxury Division of Coldwell Banker Residential Brokerage CARLISLE, MASSACHUSETTS BELMONT, MASSACHUSETTS $3,500,000. This 44-acre property offers a one-of-a-kind estate with $5,950,000. Rarely-available Georgian Revival estate located a tennis court and a five-acre pond. Abutting hundreds of acres of approximately six miles to Boston with 16+ rooms, three stories and conservation land on the Concord line and access to hiking trails. unparalleled views of downtown Boston. 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Unfortunately, because of Levine's recent health woes, some of the works he was meant to premiere have had to be designated to other conductors. This is the case for the Sixth Symphony, led here by another longtime collaborator of Harbison's, David Zinman; it was the case for the October 2011 premiere by the Metropolitan Opera Orches¬ tra of Harbison's Alice Munro settings, Closer to My Own Life for mezzo-soprano and orchestra, which was led by Fabio Luisi. But these situations take little away from the music's origins in the strong working friendship between Levine and Harbison. Harbison has described Levine as being the biggest influence in his later musical life, both directly in his own music and in conversation about music more generally. "Discussions about all kinds of music, from Bach to Haydn to Wagner and Verdi and all kinds of recent music have been lively and revealing and indelible.... His Socratic rehearsal method is endlessly fascinating and his ability to internalize the discourse of a piece is matchless. I often learned possibilities in my pieces by listening and not intervening." Harbison and Levine first met when both presented papers at the Salzburg Seminar on opera in sum¬ mer 1984, just after the composer led that summer's Boston Symphony performance of his first BSO commission, his Symphony No. 1, at Tanglewood. A few years later, Levine was to have been the pianist for Harbison's song cycle Simple Daylight, which was com¬ missioned for Dawn Upshaw by Lincoln Center. For the cycle, Harbison composed what he describes as the hardest piano music he has ever written, and in the event Levine was too busy to learn the part in time. The relationship continued on a much higher and more involved level when the Metro¬ politan Opera commissioned Harbison’s full-scale opera The Great Gatsby to mark Levine's 25th anniversary with the company. Levine led the premiere of the opera in December 1999 and its revival at the Met in 2002. His first concert with the Boston Symphony Orchestra as music director designate, in January 2003, featured Harbison's Third Symphony, and for his first season (2004-05) as the orchestra's music director the BSO commissioned the composer's Darkbloom, Overture for an imagined opera at his request. Although the BSO has performed John Harbison's music since 1977, its recent perform- Symphony Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue. Open Thursday and Saturday, 3-6pm, and for all Symphony Hall performances BOSTON SYMPHONY ORCHESTRA through intermission. WEEK 12 PROGRAM NOTES 47 ances of Harbison's scores, particularly the new ones, have benefitted from the players' increasing and sustained familiarity with his style, a familiarity Levine made a point of nurturing. As every performer knows, nothing results in great performances more reliably than the spontaneity made possible by a thoroughgoing comfort with the material. During his tenure at the BSO, James Levine extended the relationship. After Darkbloom: Overture for an imagined opera, the BSO commissioned Harbison's Fifth and Sixth symphonies for Levine and was a co-commissioner of the composer's Concerto for Bass Viol, as well as giving the premiere of his Double Concerto for violin, cello, and orchestra (commissioned by Friends of Dresden Music Foundation). Levine conceived the present two-season sur¬ vey of the composer's complete symphonies, which put Harbison in the rarified company of other composers treated to surveys during Levine's tenure, including Beethoven, Schoenberg, Mahler, Mozart, Brahms, and Schumann. Not coincidentally, most of those names—plus Sibelius and Stravinsky—are the com¬ posers most often invoked by John Harbison in speaking of his symphony cycle. It's a context that has inevitably enriched his own ideas about the symphonic genre and its potential, even as he has made a point of making each new symphony different from the last. Levine had a more direct hand in Harbison's most radical departure from his sym¬ phonies past when he recommended the composer add a voice part to his already in- process Fifth Symphony, which transformed the work from an entirely instrumental score to one in which settings for baritone and mezzo-soprano nearly dominate. The addition of the opening vocal movement in the Sixth Symphony was a late decision and also linked to Levine, albeit more abstractly. Although it required major, retroactive revisions to the three instrumental movements already in place, its text brings the theme of artis¬ tic constancy into explicit focus. The Sixth Symphony, then, is another special case in Harbison's symphonic output. Although it has four movements like the First, Second, and all-vocal Fifth (the Third and Fourth both have five movements), the four are arrived at via one-plus-three, with the Phis exhibition of remarkable and unexpected AIBTISTS' artists’ books from the Boston Athenaeum's IBOOKS: outstanding collection includes works by Russell Maret, Laura Davidson, Ryoko Adachi, IBOOKS »v Stephen Dupont, Harriet Bart, Xu Bing, Iliazd, iind more than two dozen others, among them AIBTISTS examples not previously exhibited. THE BOSTON ATHENPEUM • 10V2 Beacon Street-Boston-Massachusetts 02108 October 12, 2011-March 3, 2012 bostonathenaeum.org • 617-227-0270 48 § "S' |CL rTj The Roman temple of Diana at Nimes, France, subject of the James Wright poem used for the first movement of Harbison's Symphony No. 6 first movement standing apart from the well-defined three-movement arc of the instru¬ mental movements. That first movement, which calls for a much smaller orchestral body in addition to mezzo- soprano, might seem at first introductory, but the setting of James Wright's poem is sub¬ stantial and emotionally active.* The vocal setting moves from lyricism to declamation almost imperceptibly, a balance between feeling and fact. This matches the poem's drift from the cultural contemplation of its start to the immediacy of ancient imagery: "surely the young women of Gaul glanced back thoughtfully over their bare shoulders.'' With a richly contrapuntal ensemble accompaniment to the voice, echoing and expanding the soloist's melodic figures and adding rhythmic figures, the movement grows increasingly active and dramatic through "I pray for the stone-eyed legions of the rain to put off their armor.” At "And the rain still mounts its guard," we first hear the unexpected, strange sound of the cimbalom, the hammered concert dulcimer found prevalently in Hungary. The opening melodic gesture of the voice, with its characteristic contour of an octave leap and falling major second (whole tone), is an important motivic signpost for the three instrumental movements; one may hear many such small melodic correspondences between this setting and what comes later. More generally, the layered contrapuntal tex¬ ture of the vocal movement foreshadows the intricate melodic and metrical polyphony that follows. The three orchestral movements are extended meditations and intensifica¬ tions of that first movement. In the second movement, following a short opening passage, the violins introduce a long, * Born in Ohio, James Wright (1927-1980) attended Kenyon College on the G.l. Bill following a stint in Japan with the occupying army. He also studied in Vienna and at the University of Washington. He worked with the major American poets John Crowe Ransom, Theodore Roethke, and Stanley Kunitz, and taught at the University of Minnesota and Hunter College in New York City. Wright won the Pulitzer Prize in 1972 for his Collected Poems. Unlike "Entering the Temple in Nimes,” much of his I work examines the situations of disenfranchised Americans, in sympathy with his own childhood. WEEK 12 PROGRAM NOTES 49 searching, intense melody with several built-in tempo shifts. The melody suggests a tonal center but chromatic elements within it amplify the expressivity and parallel the tempo ambiguity. One prominent feature is the recurring large leap—an octave or near¬ octave (ninth or seventh), which is a link to that distinctive gesture in the vocal melody. Although the first violins begin alone, lines are added gradually in other sections to cre¬ ate a dense and intricate network. The process repeats with a new melodic figure, build¬ ing to a higher level of intensity before dispersing. The movement's last measures are transparent, timbres alternating between winds and strings. For the third movement, Harbison turns to the established idea of, but not actually the standard template for, the orchestral scherzo. Marked "Vivo, ruvido" ("Lively, rough"), the movement is in a defined but syncopated 12/8 meter. Two short, contrasting ideas are presented—violins, then horns—both ideas becoming a part of the ensuing texture. This developing material is interrupted by the return of the cimbalom's magical sound (a very brief hint closed the second movement) in combination with the thin, dry sound of violins, ponticello (near the bridge) and col legno battuto (tapping with the wood of the bow), ushering in a quiet finish to the movement. The finale revisits the metrical ambiguity of the second movement, beginning with what turns out not to be a waltz and continuing with a buildup of contrapuntal activity. The tune itself is self-confident and clear, in spite of its metrical instability. In the midst of the movement the violins haltingly try out a new melody, which, it will become apparent, is a succinct version of the mezzo's first-movement setting. A brief suggestion of return to the scherzo reintroduces the cimbalom, a harbinger of the closing minutes, beautiful, dis¬ solute, strange. Robert Kirzinger ROBERT kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra. The Composer on his Symphony No. 6 Symphony No. 6 was commissioned by the Boston Symphony Orchestra, James Levine, Music Director. It is dedicated to James Levine in friendship and gratitude. These two sentences are far from formalities. The piece begins with a setting of a poem by James Wright, for high voice and chamber orchestra. In the succeeding movements the singer is no longer heard, the orchestra is significantly larger. Certain passages from the poem maintain a presence through what follows. "As long as this evening lasts," "I hope to pay my reverence." "This evening, in winter, I pray for the stone-eyed legions of the rain To put off their armor." The conclud¬ ing lines of the poem are rendered in terms which define much of the rest of the piece. The first idea I wrote down was a detailed fragment which seemed very promising. This sketch was lost for over six weeks, during which I tried to reproduce it. These resulted in paraphrases and derivations—whatever I could remember of the lost material. When it was found I understood that these recollections could all find place in the piece, the orig¬ inal sketch would not. Much later I was haunted by a missing sonority, a granulated, silvery sound, mysterious, even ominous, a punctuation for the end of large paragraphs. Arriving late for a class given by percussionist Nick Tolle for the Tanglewood Composition Fellows, I heard that sound. It turned out to be a Cimbalom, which plays a brief but important part of the narrative. I am fortunate that David Zinman, who has conducted splendid performances of so many of my pieces, leads the first performances of this symphony. John Harbison, October 2011 Entering the Temple in Nimes As long as this evening lasts, I am going to walk all through and around The Temple of Diana. I hope to pay my reverence to the goddess there Whom the young Romans loved. Though they learned her name from the dark rock Among bearded Greeks, It was here in the South of Gaul they found her true To her own solitude. For here surely the young women of Gaul Glanced back thoughtfully over their bare White shoulders and hurried away Out of sight and then rose, reappearing As vines and the pale inner hands of sycamores In the green places. This evening, in winter, I pray for the stone-eyed legions of the rain To put off their armor. Allow me to walk between the tall pillars And find the beginning of one vine leaf there, Though I arrive too late for the last spring And the rain still mounts its guard. James Wright Used by permission WEEK 12 TEXT 02009 Bose Corporation. C 005116 We inviteyoutoexperiencewhatour passion bringstotheperformance of ourproducts.Pleasecallorvisit websitetolearnmore-including we're proudtosupporttheperformers you'relisteningtotoday. we loveaboutmusic.Andit'swhatinspires allwedoatBose.That'swhy artistry totheperformance.It'stheir passion thatcreatesmuchofwhat how youcanhearBose®soundforyourself. Each musicianreadsfromthesamescore,buteachbringshisorherown It's attheheartoftheirperformance.Andours. 1 -800-444-BOSE Better soundthrough research ? www.Bose.com 1 Richard Strauss “Till Eulenspiegel's Merry Pranks after the old rogue's tale, set in rondo form for large orchestra, Opus 28 RICHARD GEORG STRAUSS was born in Munich, Germany, on June n, 1864, and died in Garmisch-Partenkirchen, Bavaria, on September 8, 1949. He completed “Till Eulenspiegels lustige Streiche” (“ Till Eulenspiegel’s Merry Pranks”) on May 6,1895, and the first performance was con¬ ducted by Franz Wullner on November 5 that year, in Cologne. THE SCORE OF “TILL EULENSPIEGEL” calls for piccolo, three flutes, three oboes and English horn, two clarinets, clarinet in D, and bass clarinet, three bassoons and contrabassoon, four horns plus four more ad lib., three trumpets plus three more ad lib., three trombones, bass tuba, timpani, snare drum, bass drum, cymbals, triangle, large rattle, and strings. There was a real Till Eulenspiegel, born early in the fourteenth century near Brunswick and gone to his reward—in bed, not on the gallows as in Strauss's tone poem—in 1350 at Molln in Schleswig-Holstein. Stories about him have been in print since the beginning of the sixteenth century, the first English version coming out around 1560 under the title Here beginneth a merye Jest of a man that was called Howleglas ("Eule" in German means "owl" and "Spiegel" "mirror" or "looking-glass"). The consistent and serious theme behind his jokes and pranks, often in themselves distinctly on the coarse and even brutal side, is that here is an individual getting back at society, more specifically the shrewd peasant more than holding his own against a stuffy bourgeoisie and a repressive clergy. The most famous literary version of Till Eulenspiegel is the one published in 1866 by the Belgian novelist Charles de Coster: set in the period of the Inquisition in the sixteenth century, it is also the most explicitly politicized telling of the story, and it is the source of one of the great underground masterpieces of 20th-century music, the oratorio Thyl Claes by the Russian-German composer Vladimir Vogel. Strauss knew de Coster's book, and it seems also that in 1889 in Wurzburg he saw an opera called Eulenspiegel by Cyrill Kistler, a Bavarian composer whose earlier opera Kunihild had a certain currency in the '80s and early '90s, and for which he was proclaimed as WEEK 12 PROGRAM NOTES S3 Fifteenth Season, 1895-96 1368th and 1369th Performances. 735th and 736th Performances in Boston. Sixteenth Rehearsal and Concert. Friday Afternoon, February 21, at 2.30 o’clock. Saturday Evening, February 22, at 8.00 o’clock. PROGRAMME. Heinrich Zollner - - Orchestral Fantasia, “ Midnight at Sedan ” (First Time.) Moritz Moszkowski - - Concerto for Violin, in C major, Op. 30 I. Allegro commodo iC major .... 12-8 II. Andante (G major) ------4-4 III. Vivace iC major) ------4-4 Richard Strauss - - “Till Eulenspiegel’s Merry Pranks,” Op. 28 (First time ) Ludwig van Beethoven Symphony No. 6, in F major, “ Pastoral,” Op. 68 I. The Awakening: of Cheerful Feellngrs on Arriving in the Country: Allegro ma non troppo* F major) 2-4 II. Scene by the Brook-side Andante molto mosso (B flat major) ------128 III. Merry Meeting of Country Folk: Allegro (F major) ------3-4 IV. Thunderstorm, Tempest: Allegro (F minor) - 4 4 V. Shepherds’ Song. Glad and Thankful Feelings after the Storm: Allegretto (F major) - - 6 8 Soloist, Mr. EMILE SAURET. There will be no Rehearsal and Concert next week. <»») Program page from the first Boston Symphony performance of Strauss's "Till EulenspiegeTs Merry Pranks," on February 22, 1896, with Emil Paur conducting (BSO Archives) 54 Wagner's heir. Indeed, Strauss's first idea was to compose an Eulenspiegel opera, an idea that appealed to him especially after the failure of his own exceedingly Wagnerian Guntram in 1894. He sketched a scenario and later commissioned another from Count Ferdinand von Sporck, the librettist of Kistler's Kunihild, but somehow the project never got into gear. "I have already put together a very pretty scenario,” he wrote in a letter, "but the figure of Master Till does not quite appear before my eyes. The book of folk¬ tales only outlines a generalized rogue with too superficial a dramatic personality, and developing his character in greater depth, taking into account his contempt for humanity, also presents considerable difficulties.” But if Strauss could not see Master Till, he could hear him, and before 1894 was out, he had begun the tone poem that he finished on May 6,1895. As always he could not make up his mind whether he was engaged in tone painting or "just music." To Franz Wullner, who was preparing the first performance, he wrote: I really cannot provide a program for Eulenspiegel. Any words into which I might put the thoughts that the several incidents suggested to me would hardly suffice; they might even offend. Let me leave it, therefore, to my listeners to crack the hard nut the Rogue has offered them. By way of helping them to a better understanding, it seems enough to point out the two Eulenspiegel motives [Strauss jots down the opening of the work and the virtuosic horn theme], which, in the most diverse disguises, moods, and situations, pervade the whole up to the catastrophe when, after being condemned to death, Till is strung up on the gibbet. For the rest, let them guess at the musical joke a Rogue has offered them. On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exegetes, the composer was willing to offer a more detailed scenario—Till among the market-women, Till disguised as a priest, Till paying court to pretty girls, and so forth—the sort of thing guaranteed to have the audience anxiously reading the program book instead of listening WEEK 12 PROGRAM NOTES 55 Now accepting consignments in all categories +1 617 742 0909 | [email protected] John William Godward The trysting place Sold for $242,500 International Auctioneers and Appraisers inhams.co: 920trBonhams Auction*'* Ccrp. All rights reserved MA ; o TkeGi^ves .INC () 0\ (781) 259-0800 www.Grovesinlincoln.org One Harvest Circle • Lincoln, MA 01773 56 to the music, probably confusing priesthood and courtship anyway, wondering which theme represents "Till confounding the Philistine pedagogues," and missing most of Strauss's dazzling invention in the process. (Also, if you've ever been shown in a music appreciation class how to "tell" rondo form, forget it now.) It is probably useful to identify the two Till themes, the very first violin melody and what the horn plays about fifteen seconds later,* and to say that the opening music is intended as a "once-upon-a-time" prologue that returns after the graphic trial and hanging as a charmingly formal epilogue (with rowdily humorous "kicker"). For the rest, Strauss's compositional ingenuity and orchestral bravura plus your attention and fantasy will see to the telling of the tale. Michael Steinberg MICHAEL STEINBERG was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmoric. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concer¬ tos, and the great works for chorus and orchestra. THE FIRST UNITED STATES PERFORMANCE of Strauss's "Till Eulenspiegel" was given by the Chicago Symphony Orchestra on November 15,1895, with Theodore Thomas conducting. THE FIRST BOSTON SYMPHONY PERFORMANCES OF "TILL EULENSPIEGEL" was conducted by Emil Paur on February 22, 1896, subsequent BSO performances being given by Wilhelm Gericke, Karl Muck, Max Fiedler, Otto Urack, Pierre Monteux, Bruno Walter, Serge Koussevitzky, Charles Munch, Igor Markevitch, Richard Burgin, Erich Leinsdorf, Werner Torkanowsky, Josef Krips, William Steinberg, Michael Tilson Thomas, Eugen Jochum, Okko Kamu, Joseph Silverstein, Kurt Masur, Andrew Davis, Marek Janowski, David Wroe, Roberto Abbado, James Levine, David Robertson, Hans Graf (the most recent Tanglewood performance, on July 30, 2006), Rafael Fruhbeck de Burgos, and Sir Mark Elder (the most recent subscription performances, in January 2011). * It is told that Strauss's father, probably both the most virtuosic and the most artistic horn player of his time, protested the unplayability of this flourish. "But Papa," said the composer, "I've heard you warm up on it every day of my life.' WEEK 12 PROGRAM NOTES DEPOSIT & CASH MANAGEMENT • RESIDENTIAL MORTGAGE INVESTMENT MANAGEMENT & TRUST • COMMERCIAL BANKING Not all philanthropists have BUILDINGS NAMED AFTER THEM. Philanthropic giving is always welcome, regardless of what form it takes. Boston Private Bank & Trust Company’s Donor Advised Fund is a simple and flexible tool that makes charitable giving easier than ever. It enables you to set aside funds and recommend grants to qualified nonprofit organizations according to your interests and on your timetable, all while realizing a tax benefit. It is just one of the ways we make the connections that count — connections to the financial expertise you need, and a personal connection that goes far beyond the sum of our transactions. Boston Private Bank 0 Trust Company Please contact Richard MacKinnon, Senior Vice President, at (617) 912-4287 or [email protected] Investments are not FDIC insured, have no Bank guarantee, are not a deposit, and may lose value. To Read and Hear More... Currently, the best quickly available source of information about John Harbison is the website of his publisher, G. Schirmer (www.schirmer.com), which contains a biography, works list, reviews, and several interesting essays about the composer and individual pieces, including his opera The Great Gatsby. David St. George wrote the essay on Harbison in the New Grove II; Richard Swift wrote the one in The New Grove Dictionary of American Music (from 1983). The Boston Symphony Orchestra and Seiji Ozawa recorded Harbison's Symphony No. 1, a BSO centennial commission, soon after its premiere in 1984 (New World Records). Herbert Blomstedt's recording of the Second Symphony with the San Francisco Symphony Orchestra, although deleted by the original label (London), is available as a fully licensed reissue from ArkivMusic.com (also including Harbison's Oboe Concerto and Roger Sessions's Symphony No. 2). A live recording by James Levine and the Munich Philhar¬ monic of the composer's Symphony No. 3 was released as volume 7 in the series "Documents of the Munich Years" (Oehms Classics, with Gershwin's Cuban Overture and Ives's Symphony No. 2). David Alan Miller's recording of the Symphony No. 3 with the Albany Symphony also includes the composer's Flute Concerto and The Most Often Used Chords for orchestra (Albany Records). There are no commercially available recordings of Harbison's symphonies 4, 5, or, of course, 6. The Boston Symphony Chamber Players, with pianist Gil Kalish, recorded the Piano Quintet and Words from Paterson, the latter with baritone Sanford Sylvan, on a disc with Simple Daylight performed by Kalish and soprano Dawn Upshaw (Nonesuch). James Levine's January 2000 Metropolitan Opera broadcast premiere of Harbison's opera The Great Gatsby was released by the Met as part of an eleven-opera set (thirty-two CDs in all) commemorating the fortieth anniver¬ sary of the conductor's Met debut (available at metoperashop.org and Amazon.com; now also available singly from the Met Opera Shop). David Zinman recorded Harbison's Mirabai Songs with Dawn Upshaw and the Orchestra of St. Luke's (Nonesuch) and Remembering Gatsby with the Baltimore Symphony Orchestra (Decca/Argo). Also of interest in the extensive Harbison recordings catalog are David Hoose's recording with soprano Roberta Anderson, baritone Sanford Sylvan, and Hoose's Boston-based Cantata Singers and Orchestra of Harbison's Pulitzer Prize-winning cantata The Flight into Egypt (New World), and the Boston Modern Orchestra Project's recordings of the ballet Ulysses and the opera Full Moon in March (BMOP/Sound). BMOP's recording of his earlier opera Winter's Tale is forthcoming. The Lydian String Quartet's recording of Harbison's first four string quartets was released in 2009 (Centaur). Robert Kirzinger WEEK 12 READ AND HEAR MORE 59 pompeiiA DAY IN 1 Exhibit closes February 12th! Presented in partnership with Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei. Museum of Science. EILEEN FISHER HINGHAM WELLESLEY COPLEY PLACE THE MALL AT CHESTNUT HILL 6o The standard biography of Weber is John Warrack's Carl Maria von Weber (Cambridge paperback). The article by Philipp Spitta and Warrack from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2, along with the New Grove articles on Berlioz and Mendelssohn (Norton paperback). The Weber entry in the 2001 revision of Grove credits no fewer than six writers, Spitta and Warrack among them. Recordings of the Overture to Euryanthe include Leonard Bernstein's with the New York Philharmonic (Sony), Marek Janowski's with the Staatskapelle Dresden (Berlin Classics), Wolfgang Sawallisch's with the Philharmonia Orchestra (EMI), and Christian Thielemann's with the Vienna Philharmonic (Deutsche Grammophon). Historic recordings include Wilhelm Furtwangler's with the Vienna Philharmonic (EMI), Arturo Toscanini's live with the New York Philharmonic from 1945 (Guild) or in a 1948 NBC Symphony telecast from Carnegie Hall (Testament DVD), and a 1928 recording by Richard Strauss with the Berlin Philharmonic (Preiser). Edmund Morris's Beethoven: The Universal Composer is a thoughtful, first-rate compact biography aimed at the general reader (in the HarperCollins series "Eminent Lives"). The two important full-scale modern biographies are Maynard Solomon's Beethoven, pub¬ lished originally in 1977 and revised in 1998 (Schirmer paperback), and Barry Cooper's Beethoven in the Master Musicians” series (Oxford University Press). Also noteworthy are Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood (Norton paperback); David Wyn Jones's The life of Beethoven, in the "Musical lives" series of compact composer biographies (Cambridge paperback); The Beethoven Compendium: A Guide to Beethoven's Life and Music, edited by Barry Cooper (Thames & Hudson paperback), and Peter Clive's Beethoven and his World: A Biographical Dictionary, which includes entries on just about anyone you can think of who figured in the compos¬ er's life (Oxford). Dating from the nineteenth century, but still crucial, is Thayer's Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Maynard Solomon's Late Beethoven: Music, Thought, Imagination is a wide-ranging collection of essays that affords a close and multi-layered look at elements of the composer's late style (University of California paperback). Also relevant to that particular subject is Martin Cooper's Beethoven: The Last Decade, 1817-1827 (Oxford paperback). Michael Steinberg's program notes on Beethoven's concertos (the five piano concertos, the Violin Concerto, and the Triple Concerto) are in his compilation volume The Concerto- A Listener's Guide (Oxford paperback). Donald Francis Tovey's notes on Beethoven's con¬ certos (but minus the Piano Concerto No. 2) are among his Essays in Musical Analysis (Oxford). Also worth investigating are Jan Swafford's chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback), Roger Fiske's Beethoven Concertos and Overtures, in the series of BBC Music Guides (University of Washington paperback), and Robert Simpson's chapter on "Beethoven and the Concerto" in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). The Boston Symphony Orchestra recorded the five Beethoven piano concertos in the WEEK 12 READ AND HEAR MORE 6l Frederic Remington, The Moose Country, courtesy Frederic Remington Art Museum. Ogdensburg, New York. 62 $25 and$30 tickets today! 617-496-2222 Order your Boston YouthSymphony In collaboration withtheConsulate GeneralofItalyinBoston FALSTAFF SUNDAY, JANUARY22.2012 Sanders TheatreatHarvard University SEMI-STAGED PERFORMANCE Boston YouthSymphony Marc Astafan,StageDirector Federico Cortese,Conductor GIUSEPPE VERDI a littlepeaceofmindgoestongway. not justpeaceandquiet. Davis Malm& DAgostine PC. At DavisMalmweworkhard Place •Boston1" to putyourmindatease. shouldn’t beanobstacle. In today’sharriedworld, Peace ofmind, at 3pm And legalissues ORCHESTRAS MUSIC DIRECTOR FEDERICO CORTESE 1980s with Rudolf Serkin under Seiji Ozawa's direction (Telarc) and in the 1960s with Arthur Rubinstein under the direction of Erich Leinsdorf (RCA). David Zinman has recorded the five Beethoven piano concertos with Yefim Bronfman and the Tonhalle Orchestra of Zurich (Arte Nova). Other noteworthy sets of the five piano concertos (listed alphabeti¬ cally by soloist) include Daniel Barenboim's with Otto Klemperer and the Philharmonia Orchestra (EMI), Alfred Brendel's recorded live with James Levine and the Chicago Symphony Orchestra (Philips), Leon Fleisher's with George Szell and the Cleveland Orchestra (Sony Classical), Stephen Kovacevich's with Colin Davis and the BBC Symphony and London Symphony Orchestra (Philips), 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 have always held a special place (various CD reissues, notably on budget-priced Naxos Historical). The biggest biography of Richard Strauss is still Norman Del Mar's three-volume Richard Strauss, which gives equal space to the composer's life and music (Cornell University paperback); Till Eulenspiegel's Merry Pranks receives detailed consideration in Volume I. More recent books on Strauss include Tim Ashley's Richard Strauss in the well-illustrated series "20th-Century Composers" (Phaidon paperback); The life of Richard Strauss by Bryan Gilliam, in the series "Musical lives" (Cambridge paperback), and Richard Strauss: Man, Musician, Enigma (Cambridge University Press) by Michael Kennedy, who also wrote Richard Strauss in the "Master Musicians" series (Oxford paperback) and whose Strauss article in The New Grove Dictionary of Music and Musicians (1980) was reprint¬ ed in The New Grove Turn of the Century Masters: Janacek, Mahler, Strauss, Sibelius (Norton paperback). The Strauss entry in the 2001 edition of The New Grove is by Bryan Gilliam. The Boston Symphony Orchestra recorded Till Eulenspiegel with William Steinberg con¬ ducting in 1970, with Charles Munch in 1961, and with Serge Koussevitzky in 1945 (all for RCA). A new DVD in a continuing series of historic BSO telecasts includes a November 1962 BSO performance of Till Eulenspiegel with Erich Leinsdorf conducting (ICA Classics, also including Leinsdorf/BSO telecasts of Mahler's Symphony No. 1 and the Adagietto from Mahler's Symphony No. 5). David Zinman has recorded Strauss's tone poems with the Tonhalle Orchestra of Zurich (Arte Nova). Other recordings of Till Eulenspiegel include Christoph von Dohnanyi's with the Cleveland Orchestra (London), Wilhelm Furtwangler's either live with the Berlin Philharmonic (Deutsche Grammophon) or studio-recorded with the Vienna Philharmonic (EMI), Rudolf Kempe's with the Staatskapelle Dresden (EMI), James Levine's live with the Munich Philharmonic (Oehms), Georg Solti's with the Chicago Symphony (London), and George Szell's with the Cleveland Orchestra (Sony Classical), not to mention Strauss's own, from 1929 with the Berlin Staatskapelle (vari¬ ous labels, including Dutton, Preiser, and Symposium). Marc Mandel WEEK 12 READ AND HEAR MORE 63 HOTELS & RESORTS Mahler’s No. 4 or Mozart’s No. 40? At The Fairmont Copley Plaza, we appreciate ests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops. For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com SA Guest Artists David Zinman's career has been distinguished by broad repertoire, strong commitment to contemporary music, and historically informed performance practice. Mr. Zinman is in his six¬ teenth season as music director of the Tonhalle Orchestra in Zurich. He has conducted all of the leading North American orchestras. European engagements include the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Frankfurt Radio Symphony Orchestra, Munich Philharmonic, Symphonieorchester des Bayerischen Rundfunks, WDR Sinfonieorchester, and the Orchestra of the Age of Enlightenment. He also has relationships with the Royal Concertgebouw Orches¬ tra, Vienna Symphony, London Philharmonic, Orchestre de Paris, Philharmonia Orchestra, and Orchestre National de France. He recently performed with the NHK Symphony and Hong Kong Philharmonic and this season makes a long-awaited return to the Sydney and New Zealand symphony orchestras. He has toured widely with many international orchestras and continues to tour in Europe, Asia, and United States with the Tonhalle Orchestra. His most recent opera performance was Offenbach's Les Contes d'Hoffmonn at Geneva Opera in March 2010, revived in late 2011. Mr. Zinman's extensive discography of more than 100 recordings has earned him numerous international honors, including five Grammys, two Grand Prix du Disque, two Edison Prizes, the Deutsche Schallplattenpreis, and a Gramophone Award. He was the 1997 recipient of the Ditson Award from Columbia University, given in recognition of his exceptional commitment performing works by American composers, many of which he has recorded in a series for Decca's Argo label. He and the Tonhalle Orchestra recently completed a highly acclaimed Mahler cycle (including a Mahler Eighth that won a 2011 Echo Award), which followed similarly praised Beethoven, Strauss, and Schumann cycles. A recording of all the Schubert symphonies is their current project for Sony/BMG, and their most recent release is a Brahms symphony cycle. David Zinman studied conducting with Pierre Monteux and made his first major conducting debut with the Philadelphia Orchestra in 1967. He previously served as music director of the Rotterdam Philharmonic, Rochester Philharmonic Orchestra, and Baltimore Symphony Orchestra, principal conductor of the Netherlands Chamber Orches¬ tra, and music director of the Aspen Music Festival and School and the American Academy of Conducting for thirteen years. In 2000 the French Ministry of Culture awarded him the title of Chevalier de I'Ordre des Arts et des Lettres. In 2002 he became the first conductor and the first person not originally from Switzerland to receive the City of Zurich Art Prize. More recently he received the Theodore Thomas Award in recognition of outstanding achievement and extraordinary service to one's colleagues in advancing the art and science of conducting, reflecting honor on the profession. In 2008 he won the Midem Classical Artist of the Year award for his work with the Tonhalle Orchestra. David Zinman made his Boston Symphony debut at Tanglewood in July 1968 and has returned frequently to conduct the BSO at Tangle- wood and Symphony Hall, most recently for subscription concerts in January 2007 (a program of Harbison, Mozart, and Rachmaninoff) and Tanglewood appearances in July 2008 (an all- Brahms program) and August 2010 (a program of Poulenc and Holst, followed by a program of Brahms and Dvorak). ANNOUNCING THE NEXT EVOLUTION OF SENIOR LIVING The cultural opportunities at North Hill always get a standing ovation. Come home to a community that celebrates the arts. NORTH HILL INNOVATIVE LIVING FOR PEOPLE 65+ True North 888-614-6383 www.ProjectTrueNorth.com Vibrant Living at North Hill 66 Leif Ove Andsnes The celebrated Norwegian pianist Leif Ove Andsnes not only plays recitals and concertos each season, but is also an avid chamber musician who joins colleagues every summer at Norway's Risor Chamber Music Festival. He is music director of the 2012 Ojai Music Festival in Cali¬ fornia. Beethoven figures prominently in Mr. Andsnes's 2011-12 season and beyond. He performs the Third Concerto in London and on tour in Spain with the BBC Symphony Orchestra and Jin Belohlavek, and the First Concerto with the Vienna Symphony and Andris Nelsons, including concerts in Vienna's Musikverein; he plays the same two concertos with the Norwegian Chamber Orchestra in Gothenburg and Oslo. In North America he performs the First Concerto with the Pittsburgh Symphony and Manfred Honeck, the Montreal Symphony under Roger Norrington, and the Boston Symphony under David Zinman, then returns to the Third Concerto for performances with the Philadelphia Orchestra and Herbert Blomstedt. He plays and con¬ ducts both concertos with the Swedish Chamber Orchestra in Orebro, Sweden, and with the Trondheim Symphony Orchestra in Norway. He tours with the Mahler Chamber Orchestra to Italy (Brescia, Lugano, Torino, and Bergamo) and to Dresden, Prague, and Bergen. The Prague concerts, to be recorded live for his label debut on Sony Classical, mark the beginning of a multi-year project, "Beethoven-A Journey," to play and record all five Beethoven piano concertos. Other highlights of the season include Rachmaninoff's Piano Concerto No. 3 with Hannover's NDR Radiophilharmonie, Japan's NHK Symphony, and the Bergen Philharmonic. He gives recitals in Japan, North America, and Europe. A U.S. spring recital tour with baritone Matthias Goerne includes San Francisco, St. Paul, Kalamazoo, Detroit, and New York's Carnegie Hall. Leif Ove Andsnes now records exclusively for Sony Classical. His previous discography encom¬ passes more than thirty discs for EMI Classics, including, most recently, Rachmaninoff's piano concertos 3 and 4 and Schumann's complete piano trios. His recordings of music of his coun¬ tryman Edvard Grieg, among them the Piano Concerto and Lyric Pieces, have been especially celebrated. Mr. Andsnes has received Norway's most distinguished honor, Commander of the Royal Norwegian Order of St. Olav, as well as the Peer Gynt Prize, the Royal Philharmonic Society's Instrumentalist Award, and the Gilmore Artist Award. He was born in Karmoy, Norway, in 1970, and studied at the Bergen Music Conservatory under Czech professor Jin Hlinka. Over the past decade, the Belgian piano teacher Jacques de Tiege has also greatly WEEK 12 GUEST ARTISTS 67 influenced his style and philosophy of playing. He counts Dinu Lipatti, Arturo Benedetti Michelangeli, Sviatoslav Richter, and Geza Anda among the pianists who have most inspired him. A professor at the Norwegian Academy of Music in Oslo, a visiting professor at Copen¬ hagen's Royal Music Conservatory, and a member of the Royal Swedish Academy of Music, Mr. Andsnes currently resides in Copenhagen and Bergen, also spending much time at his mountain home in Norway’s Hardanger area. He occasionally contributes written commen¬ taries to NPR’s "Deceptive Cadence blog, and in June 2010 he became a father for the first time. Leif Ove Andsnes made his BSO debut at Tanglewood in July 1996 with Beethoven's Piano Concerto No. 2 and his subscription series debut in March 1997 with Mozart's D minor concerto, K.466, subsequently returning for BSO performances of the Schumann Piano Concerto, Rachmaninoff's Piano Concerto No. 2 (his most recent subscription appearances, in January 2008), and Beethoven's Piano Concerto No. 3 (at Tanglewood in August 2009). Murrihy Irish mezzo-soprano Paula Murrihy has appeared at London’s Royal Opera House, Teatro Comunale di Bologna, Santa Fe Opera, Opera Theatre of St. Louis, Oper Frankfurt, Opera de Nice, Chicago Opera Theater, Wexford Festival Opera, Boston Lyric Opera, and Opera Boston in a range of roles including the title role in Handel's Ariodante, Dido in Purcell’s Dido and Aeneas, Annio in La clemenza di Tito, Second Lady in Die Zauberflote, Cherubino in The Ghosts of Versailles, Tebaldo in Don Carlo, Helene in Une Education manquee, and Ino in Seme/e. She returned to the Royal Opera in 2010 as Mercedes in Carmen and recently joined Oper Frankfurt as a member of its ensemble; her roles there have included Dorabella in Cos) fan tutte, Medoro in Orlando furioso, and Scipio in Glanert s Caligula. This season brings two new productions in Frankfurt, of Chabrier’s L'Etoile (Lazuli) and Stravinsky's The Rake's Progress (Baba the Turk), as well as her debut at Theatre du Capitole Toulouse as Annio. Ms. Murrihy's extensive concert repertoire includes Mozart's Requiem, Bach's St. Matthew and St. John passions, Handel's Messiah, Rossini's Petite Messe solennelle, and Schubert's Mass in C. A frequent soloist with Boston's Handel & Haydn Society, she has performed Messiah with the Huddersfield Choral 68 Society, Mendelssohn's Elijah with the Utah Symphony, Haydn's Harmoniemesse with the Gabrieli Consort, Haydn s Paukenmesse (Mass in Time of War) for her Boston Symphony debut in August 2007 at Tanglewood, and Bach's St. Matthew Passion in March 2008 with the BSO at Symphony Hall. She was alto soloist in Bach's B minor Mass at the 2011 Annual Cartagena International Music Festival in Colombia. An accomplished recitalist, she has performed at the Aldeburgh Festival, New York Festival of Song, Wexford Festival, and with the Irish Chamber Orchestra at the Shannon International Music Festival. She was also invited to participate in the Marilyn Horne Foundation Masterclass Series at Carnegie Hall. During the 2010-11 season Paula Murrihy sang Kreusa in the first performances in Germany of Reimann's Medea, Purcell's Dido, Cherubino in Le nozze di Figaro, Medoro, and Annio, all for Oper Frankfurt; she stepped in to sing Medoro for her Opera de Nice debut and was also seen in cinemas worldwide as Mercedes in the first co-production (RealD and London's Royal Opera House) of Carmen in 3D. An alumna of the Tanglewood Music Center, Paula Murrihy has been a Young Artist at the Santa Fe Opera, Opera Theatre of St. Louis, Utah Opera, and Merola/San Francisco Opera Center. She holds a master of music degree from the New England Conservatory, where she was the recipient of the John Moriarty Presidential Scholarship and Presser Award. She received her bachelor's degree in music performance from the DIT Conservatory of Music and Drama, Dublin, Ireland. Casner & Edwards, LLP Personalized Attention for Businesses, Institutions and Individuals Casner & Edwards, LLP offers a wide range of services in the following areas: • Tax • Civil Litigation • Real Estate • Probate &. Family • Business & Corporate • Nonprofit Organizations • Business Bankruptcy & • Estate Planning & Financial Restructuring Wealth Management 303 Congress Street, Boston, MA 02210 Phone 617-426-5900 • Fax 617-426-8810 • www.casneredwards.com WEEK 12 GUEST ARTISTS 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 Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving, at 617-638-9269 or [email protected]. TEN MILLION AND ABOVE Julian Cohen t • Fidelity Investments • Linde Family Foundation ■ Maria and Ray Stata • Anonymous SEVEN AND ONE HALF MILLION Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille FIVE MILLION Bank of America and Bank of America Charitable Foundation ■ Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • NEC Corporation • Megan and Robert O'Block • UBS ■ Stephen and Dorothy Weber TWO AND ONE HALF MILLION Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky x* The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack t Fitzpatrick • Sally and Michael Gordon • Susan Morse Hilles t • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • National Endowment for the Arts • Lia and William Poorvu • Miriam and Sidney Stoneman t • Elizabeth B. Storer t • Samantha and John Williams ■ Anonymous (2) 70 ONE MILLION American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. ■ AT&T • Gabriella and Leo Beranek • William I. Bernell t • Roberta and George Berry BNY Mellon • Lorraine D. and Alan S. Bressler ■ Jan Brett and Joseph Hearne • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. t and Mrs. William H. Congleton • William F. Connell t and Family ■ Country Curtains • Diddy and John Cullinane ■ Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis + • Mary Deland R. de Beaumont + • Elizabeth B. Ely t ■ Nancy S. t and John P. Eustis II ■ Shirley and Richard Fennell • Anna E. Finnerty + ■ The Ann and Gordon Getty Foundation • Marie L. Gillet + • Sophia and Bernard Gordon • Mrs. Donald C. Heath t ■ Francis Lee Higginson t ■ Major Henry Lee H.igginson t • Edith C. Howie t • Dorothy and Charlie Jenkins • John Hancock Financial Services ■ Muriel E. and Richard L. t Kaye ■ Nancy D. and George H. t Kidder • Faria and Harvey Chet t Krentzman • Liz and George Krupp • Barbara and Bill + Leith ■ Vera M. and John D. MacDonald t Nancy Lurie Marks Family Foundation ■ Commonwealth of Massachusetts • Massachusetts Cultural Council • Andrew W. Mellon Foundation • Kate and Al Merck Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ■ Mr. and Mrs. Paui M. Montrone Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland + and Dr. Michael L. Nieland • Mr. t and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. + ■ Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen t • Hannah H. t and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund ■ Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Sternberg ■ Dr. Nathan B. and Anne P. Talbot t ■ Caroline and James Taylor • Diana 0. Tottenham ■ The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner ■ The Helen F. Whitaker Fund • Helen and Josef Zimbler t • Anonymous (9) "f Deceased WEEK 12 THE GREAT BENEFACTORS 71 the residences \t Imagine a new home as individualized as you are. BLACK ROCK These spectacular homes are masterfully designed to maximize of hinoham the breathtaking views oflush emerald fairxvavs, granite hillsides and wooded hollows. An easv commute from Boston. Sales Center: 781'7494)800 155 Black Rock Drive, Hingham, MA 02043 www.TheResidencesatBlackRock.com /ViiiJK fnwented Northland Residential Corporation, Net* England's premier developer u/ exceptional properties. Prices subject to chjnye without nn: Administration Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager ■ H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager BOSTON POPS Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor BUSINESS OFFICE Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, Staff Accountant • Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant WEEK 12 ADMINISTRATION e:\fterr <$. Wan experienced concert pianist, M. Steinert & Sons lias a piano liat is right for you. Our selection ranges ears rom Steinwav — tlie world’s linest piano - tlirougli Boston, Bssex and Ixoland pianos. Lome discover tor yourseli why (81)0) 944-2498 M. Steinert 6* Sons lias remained a www.msteinert.com vital and vilirant part ol Boston’s music communitv fi»r six generations. DEVELOPMENT Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations ■ John C. MacRae, Director of Principal and Planned Gifts ■ Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data Coordinator • Allison Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems ■ Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Dominic Margaglione, Donor Ticketing Associate • Anne McGuire, Donor Acknowledgment Writer and Coordinator • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader ■ Erin Simmons, Major Gifts Coordinator • Benjamin Spalter, Annual Funds Coordinator, Friends Program • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research EDUCATION AND COMMUNITY PROGRAMS Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development ■ Darlene White, Manager, Berkshire Education and Community Programs FACILITIES C. Mark Cataudella, Director of Facilities symphony hall operations Christopher Hayden, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator ■ Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician ■ Sandra Lemerise, Painter • Michael Maher, HVAC Technician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian ■ Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager Ronald T. Brouker, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician ■ Bruce Huber, Assistant Carpenter/Roofer HUMAN RESOURCES Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter • Kathleen Sambuco, Associate Director of Human Resources WEEK 12 ADMINISTRATION At Brookhaven, lifecare living is as good as it looks. Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community. Call today for a tour! 781.863.9660 • 800.283.1114 www.brookhavenatlexington.org BROOKHAVEN AT LEXINGTON A Full-Service Lifecare Retirement Community HARRY CHRISTOPHERS Handel □ Haydn o o Artistic Director Vivaldi The Four Seasons January 20 & 22, 2012 at Symphony Hall Harry Christophers, conductor '[Aisslinn Nosky’s] electric Aisslinn Nosky. violin presence and scarlet red pixie haircut accent her masterful Handel and Haydn Society musicianship.” Period Instrument Orchestra THE TORONTO STAR Concertmaster Aisslinn Nosky makes her H&H solo debut in Vivaldi's virtuosic The Four Seasons. Tickets start at $25! Order today: © 617 266 3605 © handelandhaydn.org 76 INFORMATION TECHNOLOGY Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist PUBLIC RELATIONS Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Caitlin Bayer, Subscription Representative • Susan Beaudry, Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing ■ Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge ■ Theresa Condito, Access Services Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Associate Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners ■ Christina Malanga, Subscriptions Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, E-Commerce Marketing Analyst • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant TANGLEWOOD MUSIC CENTER Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs ■ Gary Wallen, Associate Director for Production and Scheduling WEEK 12 ADMINISTRATION 77 OVERTURE. REDEFINED. Pre-concert dining at Symphony Hall is the perfect complement to an evening of world-class music. * ■ GOURMETCATERERS.COM • 617.638 9245 BOSTON GOURMET. A PARTNERSHIP OF GOURMET CATERERS AND CENTERPLATE, IS THE EXCLUSIVE CATERER FOR THE BOSTON SYMPHONY ORCHESTRA. Boston Symphony Association of Volunteers EXECUTIVE COMMITTEE Chair, Aaron J. Nurick Chair-Elect and Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller Co-chairs, Boston Mary C. Gregorio • Ellen W. Mayo • Natalie Slater Co-Chairs, Tanglewood Roberta Cohn • Augusta Leibowitz • Alexandra Warshaw Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Ken Singer BOSTON PROJECT LEADS AND LIAISONS 2011-12 Cafe Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Joan Carlton and Adele Sheinfield • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Membership Table/Hall Greeters, Elle Driska • Instrument Playground, Margaret Williams-DeCelles • Mailings, Mandy Loutrel • Newsletter, Judith Duffy • Recruitment/ Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon Lasell Village...where being a senior on campus takes on a whole new meaning. Looking for a retirement community with top grades in active living? Lasell Village combines the security of a continuing care retirement community with the unparalleled opportunities of an academic setting. LASELL VILLAGE Lasell Village, 120 Seminary Avenue, Newton, MA www.lasellvillage.org Information, call Marcia Fredlich 617.6637053 WEEK 12 ADMINISTRATION Next Program... Thursday, January 19, 8pm Friday, January 20,1:30pm Saturday, January 21, 8pm Tuesday, January 24, 8pm BRASS, WINDS, AND STRINGS OF THE BOSTON SYMPHONY ORCHESTRA COPLAND "FANFARE FOR THE COMMON MAN," FOR BRASS TOMASI "GOOD FRIDAY PROCESSION," FOR BRASS, FROM "FANFARES LITURGIQUES" STRAUSS SERENADE IN E-FLAT FOR THIRTEEN WIND INSTRUMENTS, OPUS J TCHAIKOVSKY SERENADE IN C FOR STRINGS, OPUS 48 Pezzo in forma di Sonatina: Andante non troppo—Allegro moderato Valse: Moderato, tempo di valse Elegia: Larghetto elegiac Finale, Tema Russo: Andante—Allegro con spirito {INTERMISSION} GIANCARLO GUERRERO conducting STRAVINSKY "LE SACRE DU PRINTEMPS," PICTURES FROM PAGAN RUSSIA Part I: The Adoration of the Earth Introduction—Auguries of spring (Dances of the young girls—Mock abduction—Spring Khorovod (Round Dance)—Games of the rival clans—Procession of the wise elder—Adoration of the earth (The wise elder)—Dance of the earth Part II: The Sacrifice Introduction—Mystical circles of the young girls—Glorification of the chosen victim—The summoning of the ancients—Ritual of the ancients—Sacrificial dance (The chosen victim) THE FRIDAY PREVIEW ON JANUARY 20 WILL FEATURE A DISCUSSION WITH BSO MEMBERS. Following upon Riccardo Chailly's inability to travel to Boston this month for health-related reasons, the first half of next week's program will now spotlight the Boston Symphony Orchestra itself— without a conductor—in well-known music for brass by Copland, little-known music for brass by the French composer Henri Tomasi, seldom-heard music for winds by the eighteen-year-old Richard Strauss, and music for strings in the guise of Tchaikovsky's ever-popular Serenade for Strings. The program will conclude with the originally scheduled Le Sacre du printemps of Igor Stravinsky, arguably the most influential piece of the last hundred years. On the podium for Stravinsky's groundbreaking work will be the Costa Rican conductor Giancarlo Guerrero, who made his BSO debut at Tanglewood in 2010 and makes his subscription series debut with these performances. 80 Coming Concerts PRE-CONCERT TALKS: The BSO offers free half-hour talks in Symphony Hall prior to all of the orchestra's Open Rehearsals and Friday-afternoon subscription concerts. Free to all ticket holders, the talks begin at 9:30 a.m. before the Thursday-morning Open Rehearsals, at 6:30 p.m. before the Wednesday-night Open Rehearsals, and 12:15 p.m. before the Friday-afternoon concerts. Thursday 'A' January 19, 8-10 Thursday 'D' January 26, 8-9:20 Friday A January 20,1:30-3:30 Underscore Friday January 27, 7-8:40 Saturday 'B' January 21, 8-10 (includes comments from the stage) Tuesday 'C' January 24, 8-10 Saturday 'A' January 28, 8-9:20 Tuesday 'B' January 31, 8-9:20 BRASS, WINDS, AND STRINGS OF THE BOSTON SYMPHONY ORCHESTRA BRAMWELL TOVEY, conductor GIANCARLO GUERRERO, conductor (Stravinsky only) CAROLYN SAMPSON, soprano CAMILLA TILLING, soprano COPLAND Fanfare for the Common Man MARK PADMORE, tenor TOMASI "Good Friday Procession," TANGLEWOOD FESTIVAL CHORUS, for brass and percussion, JOHN OLIVER, conductor from Fanfares liturgiques STRAUSS Serenade in E-flat for Thirteen MENDELSSOHN Lobgesang (Hymn of Praise) Winds TCHAIKOVSKY Serenade in C for Strings Thursday, February 2,10:30am (Open Rehearsal) STRAVINSKY The Rite of Spring Thursday 'B' February 2, 8-10:05 Friday‘B' February 3,1:30-3:35 Sunday, January 22, 3pm Saturday 'B' February 4, 8-10:05 Jordan Hall, New England Conservatory CHARLES DUTOIT, conductor BOSTON SYMPHONY CHAMBER PLAYERS GAUTIER CAPUCON, cello MOZART Serenade No. 12 in C minor for STRAUSS Suite from Le Bourgeois winds, K.388 Gentilhomme BEETHOVEN Serenade in D for flute, violin, DUTILLEUX Tout un monde lointain..., for and viola, Op. 25 cello and orchestra DEBUSSY La Mer BRAHMS Serenade No. 1 in D for winds and strings (arr. Rotter) massculturalcouncil.org Programs and artists subject to change. Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-120G, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m. Please note that there is a $6.25 handling fee for each ticket ordered by phone or online. WEEK 12 COMING CONCERTS 8l Symphony Hall Exit Plan MASSACHUSETTS AVENUE HUNTINGTON AVENUE II I ^jl COHEN WING MASSACHUSETTS AVENUE IN CASE OF EM Follow any lighted exit Do not use elevators. Walk, do not run. HIGGINSON ROOM 82 Symphony Hall Information For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor¬ mation about any of the orchestra's activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO's web site (bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail¬ able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro¬ gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638- 9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat WEEK 12 SYMPHONY HALL INFORMATION 83 available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Symphony Garage, Prudential Center Garage, and Copley Place Garage offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal¬ cony, audience-left, and in the Cohen Wing. Men's rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot- Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate 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) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances, including Open Rehearsals, through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at 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. 84 99 OLIVER WYMAN IMPACT THROUGH SPECIALIZATION Oliver Wyman is a leading global management consulting firm that combines deep industry knowledge with specialized expertise in strategy, operations, risk management, organizational transformation, and leadership development. Visit us at www.oliverwyman.com. marsh & Mclennan COMPANIES IMPLANT DENTISTRY CENTRE Are you missing one or more teethi If you are missing one or more teeth, then you are a candidate for a dental implant. Dental implants will allow you to smile, speak, and eat with confidence and comfort. 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